From 56ac0d1166f2da715fcd5603debbedd1a79652fc Mon Sep 17 00:00:00 2001 From: Karl Berry Date: Tue, 16 Apr 2013 21:26:14 +0000 Subject: pmx-2.7.0 (16apr13) git-svn-id: svn://tug.org/texlive/trunk@29978 c570f23f-e606-0410-a88d-b1316a301751 --- .../texk/texlive/linked_scripts/texlive/rungs.tlu | 2 +- .../texk/texlive/linked_scripts/texlive/tlmgr.pl | 20 +- Master/texmf-dist/doc/generic/pmx/README | 55 +- .../doc/generic/pmx/examples/barsant.pmx | 17 +- Master/texmf-dist/doc/generic/pmx/gpl.txt | 622 ++ .../doc/generic/pmx/install_run_pmx270.pdf | Bin 0 -> 72472 bytes .../doc/generic/pmx/install_run_pmx270.tex | 182 + Master/texmf-dist/doc/generic/pmx/pmx-install.pdf | Bin 97036 -> 96704 bytes Master/texmf-dist/doc/generic/pmx/pmx-install.tex | 6 +- Master/texmf-dist/doc/generic/pmx/pmx25-27.html | 278 + Master/texmf-dist/doc/generic/pmx/pmx260.pdf | Bin 284725 -> 0 bytes Master/texmf-dist/doc/generic/pmx/pmx260.tex | 2230 ------ Master/texmf-dist/doc/generic/pmx/pmx270.pdf | Bin 0 -> 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100644 Master/texmf-dist/doc/generic/pmx/ref260.pdf delete mode 100644 Master/texmf-dist/doc/generic/pmx/ref260.tex create mode 100644 Master/texmf-dist/doc/generic/pmx/ref270.pdf create mode 100644 Master/texmf-dist/doc/generic/pmx/ref270.tex delete mode 100644 Master/texmf-dist/doc/generic/pmx/scor2prt.html diff --git a/Build/source/texk/texlive/linked_scripts/texlive/rungs.tlu b/Build/source/texk/texlive/linked_scripts/texlive/rungs.tlu index 7ac0587b397..277657731ec 100755 --- a/Build/source/texk/texlive/linked_scripts/texlive/rungs.tlu +++ b/Build/source/texk/texlive/linked_scripts/texlive/rungs.tlu @@ -1,6 +1,6 @@ #!/usr/bin/env texlua --*-Lua-*- --- $Id: rungs.tlu 7698 2008-04-28 14:23:31Z reinhardk $ +-- $Id: rungs.tlu 29719 2013-04-07 18:42:53Z karl $ -- Copyright (C) 2008 Reinhard Kotucha. -- You may freely use, modify and/or distribute this file. diff --git a/Build/source/texk/texlive/linked_scripts/texlive/tlmgr.pl b/Build/source/texk/texlive/linked_scripts/texlive/tlmgr.pl index b05e08b4f1b..dd0e31a4471 100755 --- a/Build/source/texk/texlive/linked_scripts/texlive/tlmgr.pl +++ b/Build/source/texk/texlive/linked_scripts/texlive/tlmgr.pl @@ -1,12 +1,12 @@ #!/usr/bin/env perl -# $Id: tlmgr.pl 29921 2013-04-14 23:54:53Z karl $ +# $Id: tlmgr.pl 29950 2013-04-15 17:35:00Z karl $ # # Copyright 2008-2013 Norbert Preining # This file is licensed under the GNU General Public License version 2 # or any later version. -my $svnrev = '$Revision: 29921 $'; -my $datrev = '$Date: 2013-04-15 01:54:53 +0200 (Mon, 15 Apr 2013) $'; +my $svnrev = '$Revision: 29950 $'; +my $datrev = '$Date: 2013-04-15 19:35:00 +0200 (Mon, 15 Apr 2013) $'; my $tlmgrrevision; my $prg; if ($svnrev =~ m/: ([0-9]+) /) { @@ -5516,15 +5516,16 @@ END_NO_INTERNET # release/2010-foobar my $texlive_release = $remotetlpdb->config_release; my $texlive_minrelease = $remotetlpdb->config_minrelease; + my $rroot = $remotetlpdb->root; if (!defined($texlive_release)) { - return(undef, "The installation repository does not specify a " + return(undef, "The installation repository ($rroot) does not specify a " . "release year for which it was prepared, goodbye."); } # still here, so we have $texlive_release defined my $texlive_release_year = $texlive_release; $texlive_release_year =~ s/^(....).*$/$1/; if ($texlive_release_year !~ m/^[1-9][0-9][0-9][0-9]$/) { - return(undef, "The installation repository does not specify a " + return(undef, "The installation repository ($rroot) does not specify a " . "valid release year, goodbye: $texlive_release"); } # so $texlive_release_year is numeric, good @@ -5533,13 +5534,14 @@ END_NO_INTERNET my $texlive_minrelease_year = $texlive_minrelease; $texlive_minrelease_year =~ s/^(....).*$/$1/; if ($texlive_minrelease_year !~ m/^[1-9][0-9][0-9][0-9]$/) { - return(undef, "The installation repository does not specify a " + return(undef, "The installation repository ($rroot) does not specify a " . "valid minimal release year, goodbye: $texlive_minrelease"); } # ok, all numeric and fine, check for range if ($TeXLive::TLConfig::ReleaseYear < $texlive_minrelease_year || $TeXLive::TLConfig::ReleaseYear > $texlive_release_year) { return (undef, "The TeX Live versions supported by the repository +$rroot ($texlive_minrelease_year--$texlive_release_year) do not include the version of the local installation ($TeXLive::TLConfig::ReleaseYear)."); @@ -5548,10 +5550,10 @@ do not include the version of the local installation # $texlive_minrelease not defined, so only one year is valid if ($texlive_release_year != $TeXLive::TLConfig::ReleaseYear) { return(undef, "The TeX Live versions of the local installation -and the repository being accessed are not compatible: +and the repository are not compatible: local: $TeXLive::TLConfig::ReleaseYear - repository: $texlive_release_year -(Perhaps you need to use a different CTAN mirror?)."); + repository: $texlive_release_year ($rroot) +(Perhaps you need to use a different CTAN mirror? Just a guess.)"); } } diff --git a/Master/texmf-dist/doc/generic/pmx/README b/Master/texmf-dist/doc/generic/pmx/README index 5b079091db0..d41d2bc0c3d 100644 --- a/Master/texmf-dist/doc/generic/pmx/README +++ b/Master/texmf-dist/doc/generic/pmx/README @@ -1,4 +1,4 @@ -This is PMX, version 2.6.19 (Jan. 19th, 2013). PMX provides a preprocessor for MusiXTeX. +This is PMX, version 2.7.0 (2013-05-16). PMX provides a preprocessor for MusiXTeX. pmxab builds a TeX input file based on a .pmx input file in a much simpler language, making most of the layout decisions by itself. It has @@ -8,55 +8,4 @@ make a MIDI file of your score. scor2prt is an auxiliary program that makes parts from a score. -pmx2pdf is a wrapper script that runs pmxab, all 3 passes of MusiXTeX, -and subsequent conversions to PDF. - -The author of pmxab and scor2prt is Don Simons (dsimons@roadrunner.com). -The author of the pmxccn tutorial is Cornelius C. Noack. - -To install (on TDS-compliant TeX systems): - - + unzip tex-archive/install/support/pmx.tds.zip at the root of a texmf - tree and, if necessary, update the filename database; e.g., texhash texmf. - Documentation for PMX is installed under doc/generic/pmx. - - + on Windows or OS-X: copy the executables appropriate for your - platform to a folder on the executable PATH - - + on any Unix-like system with gcc and standard development tools - installed: unpack pmx-2.6.19.tar.gz (anywhere), move to the resulting - pmx-2.6.19 directory and do - - ./configure - make - make install (as root) - - Then install a symbolic link pmx2pdf in any directory on the - executable PATH to scripts/pmx/pmx2pdf.lua - -In this release of PMX, the original Fortran sources for pmxab and -scor2prt have been included but the C files actually used have been -obtained from these by the f2c translator. The source files for libf2c, -which is needed at link time, are also included. - -Documentation for PMX is installed under - -doc/generic/pmx - -Many examples of PMX and MusiXTeX typesetting may be found at the Werner -Icking Music Archive at - -http://icking-music-archive.org/ - -Support for users of MusiXTeX and related software may be obtained via -the MusiXTeX mail list at - -http://tug.org/mailman/listinfo/tex-music - -PMX may be freely copied, duplicated and used in conformance to the GNU -General Public License (see included file COPYING). The libf2c source -files are governed by a Notice that allows copying, modification and -distribution. - -This CTAN distribution is maintained by Bob Tennent (rdt@cs.queensu.ca). -Jan. 19th, 2013. +The author of pmxab and scor2prt is Don Simons (dsimons@roadrunner.com). diff --git a/Master/texmf-dist/doc/generic/pmx/examples/barsant.pmx b/Master/texmf-dist/doc/generic/pmx/examples/barsant.pmx index f10fd67b064..2dd564a1436 100644 --- a/Master/texmf-dist/doc/generic/pmx/examples/barsant.pmx +++ b/Master/texmf-dist/doc/generic/pmx/examples/barsant.pmx @@ -1,6 +1,6 @@ %----------------% % -% barsant.pmx Revised 29 June 2002 +% barsant.pmx Revised 1 April 2013 % %----------------% % @@ -13,20 +13,21 @@ Basso Recorder bt ./ -Abep +Abpl Iiharet60 Tc Francesco Barsanti (1690-1772) %% AeI1.1 +W.5 %2S9 % Bar 1-4 h Adagio -c43 r8 f 65 f 42 e 6 r c | [ b 6 c ] d 7 b 65 c4 r8 c 65 t | +c43 r8 f 65 f 42 e 6 r c | [ b 6 c ] d 7 b 65 c4 r8 c 65 s | \global\figdrop5\Figu{-1}{\fsmsh}\Figu{0}{4}\Figu{4}{2}\ - c t bf4 65 x1842 a8 65 t a t #42 g 6 r g 65 t | - g t #42 f4 \global\figdrop8\ 65 x1842 \Figu06\ e8 d 54 dd1+ 3 c3 b8 6 g 7 / + c s bf4 65 x1842 a8 65 s a s #42 g 6 r g 65 s | + g s #42 f4 \global\figdrop8\ 65 x1842 \Figu06\ e8 d 54 dd1+ 3 c3 b8 6 g 7 / g85 Gf ed1 d3 [ c3 a8+ gd1x5n s+1 f e d c s+1 ] Gc b8 s c s r e | [ d35 s c d s e op ] e s d e s f op [ f s e f s g ] g f e f Gf ed1 d3 c8 r ad1+ g3 | @@ -47,8 +48,8 @@ a85 ax3n+0+.7 s+2 gs a s+2 c8 bd1 ot a3 g1 Gfs ed8 r1 b+ bd ot a6 s b s | % Bar 9-10 f43 7 r8 d 65 e4 gs- 65 | a r r gs+ 65 / a85x3 s+2 g f s+2 fx3 s+2 e d s+2 dx3nf+0+.7 s+2 cs d s+2 a+ - gs1 b d8 r1 d cd b3 s+0-.3 | - [ c1 s a s bf s gs s ] a s fs s gn s e s + gs1 b d8 r1 d cd b3 s | + [ c1 s a s bf s gs s ] a s fs s gn s e s [ fn s ds s e s cs s ] dn s f s e d s / % Bar 11-12 [ a83 d- 7 ] e 4 e- #3 a ad1+ b3 c8 gs 65 | a4 # cs- 65 d8 dd1 e3 f8 d / @@ -57,7 +58,7 @@ c15 s+2 gs+ a s+1 d- Gc bd8 ot a1 a4 r8 ed1+ d3 | Ge fd1 e3 d8 ot r8 dd1 cn3 / % Bar 13-14 g43 b- 65 [-1+1 c8 cd1 d3 ] ef8 b 6 | c4 -3 bf n42 af 6 an #6 / -b14 d f a [ g3 b d1 t ] [+1 d6 t c b a g f e d ] +b14 d f a [ g3 b d1 s ] [+1 d6 s c b a g f e d ] Gd ed1 ot d3 c8 r1 d dd ot c6 s d s | ef1 c cd ot b6 s c s en1 c cd ot b6 s c s f1 c cd ot b6 s c s fs1 c cd ot b6 s c s / diff --git a/Master/texmf-dist/doc/generic/pmx/gpl.txt b/Master/texmf-dist/doc/generic/pmx/gpl.txt new file mode 100644 index 00000000000..e963df82940 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pmx/gpl.txt @@ -0,0 +1,622 @@ + GNU GENERAL PUBLIC LICENSE + Version 3, 29 June 2007 + + Copyright (C) 2007 Free Software Foundation, Inc. + Everyone is permitted to copy and distribute verbatim copies + of this license document, but changing it is not allowed. + + Preamble + + The GNU General Public License is a free, copyleft license for +software and other kinds of works. + + The licenses for most software and other practical works are designed +to take away your freedom to share and change the works. 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Disclaimer of Warranty. + + THERE IS NO WARRANTY FOR THE PROGRAM, TO THE EXTENT PERMITTED BY +APPLICABLE LAW. EXCEPT WHEN OTHERWISE STATED IN WRITING THE COPYRIGHT +HOLDERS AND/OR OTHER PARTIES PROVIDE THE PROGRAM "AS IS" WITHOUT WARRANTY +OF ANY KIND, EITHER EXPRESSED OR IMPLIED, INCLUDING, BUT NOT LIMITED TO, +THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR +PURPOSE. THE ENTIRE RISK AS TO THE QUALITY AND PERFORMANCE OF THE PROGRAM +IS WITH YOU. SHOULD THE PROGRAM PROVE DEFECTIVE, YOU ASSUME THE COST OF +ALL NECESSARY SERVICING, REPAIR OR CORRECTION. + + 16. Limitation of Liability. + + IN NO EVENT UNLESS REQUIRED BY APPLICABLE LAW OR AGREED TO IN WRITING +WILL ANY COPYRIGHT HOLDER, OR ANY OTHER PARTY WHO MODIFIES AND/OR CONVEYS +THE PROGRAM AS PERMITTED ABOVE, BE LIABLE TO YOU FOR DAMAGES, INCLUDING ANY +GENERAL, SPECIAL, INCIDENTAL OR CONSEQUENTIAL DAMAGES ARISING OUT OF THE +USE OR INABILITY TO USE THE PROGRAM (INCLUDING BUT NOT LIMITED TO LOSS OF +DATA OR DATA BEING RENDERED INACCURATE OR LOSSES SUSTAINED BY YOU OR THIRD +PARTIES OR A FAILURE OF THE PROGRAM TO OPERATE WITH ANY OTHER PROGRAMS), +EVEN IF SUCH HOLDER OR OTHER PARTY HAS BEEN ADVISED OF THE POSSIBILITY OF +SUCH DAMAGES. + + 17. Interpretation of Sections 15 and 16. + + If the disclaimer of warranty and limitation of liability provided +above cannot be given local legal effect according to their terms, +reviewing courts shall apply local law that most closely approximates +an absolute waiver of all civil liability in connection with the +Program, unless a warranty or assumption of liability accompanies a +copy of the Program in return for a fee. + + END OF TERMS AND CONDITIONS + diff --git a/Master/texmf-dist/doc/generic/pmx/install_run_pmx270.pdf b/Master/texmf-dist/doc/generic/pmx/install_run_pmx270.pdf new file mode 100644 index 00000000000..78c247cc964 Binary files /dev/null and b/Master/texmf-dist/doc/generic/pmx/install_run_pmx270.pdf differ diff --git a/Master/texmf-dist/doc/generic/pmx/install_run_pmx270.tex b/Master/texmf-dist/doc/generic/pmx/install_run_pmx270.tex new file mode 100644 index 00000000000..c4e187315ba --- /dev/null +++ b/Master/texmf-dist/doc/generic/pmx/install_run_pmx270.tex @@ -0,0 +1,182 @@ +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +% +% install_run_pmx270.tex 28 Mar 2013 +% +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\documentclass[11pt]{article} +\usepackage[dvips,colorlinks=true,linkcolor=blue]{hyperref} +\usepackage[dvips]{graphicx} +\def\MusiXTeX{MusiX\TeX} +\def\bs{{\tt\char'134}} +\newcommand\PMXX{\textbf{PMX}} +\newcommand\PMX{\PMXX~} +% +% Use \bfx for program names only. Use \bf for single embedded letters +% +\font\bfx=cmb10 scaled\magstephalf +\font\bbfx=cmb10 scaled1800 +\setcounter{secnumdepth}3 +\def\Bslash{\tt\char'134} +\textheight= 9.5in \voffset-.8in% +\textwidth= 6.5in \hoffset-1.0in +\hoffset-54pt +\begin{document} + +\raggedright +\parindent24pt + +\title{ + \bbfx + Installing and Running the WIMA PMX Distribution + \null\vskip10pt + \Large\sl + Version 2.7~--~March 2013 + \null\vskip-5pt + \author{\Large\rm Don \sc Simons\\ + \includegraphics[scale=0.4]{file600.eps}}} +\date{} +\maketitle + +\setcounter{page}1 +\pagestyle{headings} + +\section{Introduction} + + This document explains in detail how to install and run \PMX in +a Windows operating system, using the distribution +\href{http://icking-music-archive.org/software/pmx/pmx270.zip} +{\underline{\tt pmx270.zip}}, which resides in the +\href{http://icking-music-arihive.org} +{\underline{Werner Icking Music Archive}} (WIMA). +That is the basic distribution assembled +by the code's author. The executable +files in it will only run under Windows. For other operating systems, +other options include +either compiling the FORTRAN source files in {\tt pmx270.zip} and then following or +adapting the +remainder of the guidance provided here, or (for Windows as well) using other +distributions which will be derived in due course from {\tt pmx270.zip}, archived in +various \TeX\ repositories, and supplied with their own installation guides. +Links to those other repositories can be found in the +\href{http://www.icking-music-archive.org/software/htdocs/Getting_Started_Four_Scenar.html} +{\underline{software section}} of the Werner Icking Music Archive (WIMA). + +It is assumed +here that \TeX\ and \MusiXTeX\ version 1.15 or later are already present. If not, WIMA also +provides instructions and links for acquiring and installing those programs from the same +repositories. + +\section{Setup from scratch} + + Assuming \TeX\ and \MusiXTeX\ have already been installed, +decompress {\tt pmx270.zip} to any temporary folder. +It will contain the +FORTRAN source files {\tt pmxab.for} and {\tt scor2prt.for}, +Windows executables {\tt pmxab.exe} and {\tt scor2prt.exe}, several sample +{\tt .pmx} files, +%{\tt pmx.tex}, {\tt ref270.tex} (\TeX\ source for a command summary), +%{\tt pmx270.tex }(\TeX\ source for this file), +the full manual {\tt pmx270.pdf}, a very condensed summary of all \PMX commands +{\tt ref270.pdf}, {\tt pmx25-27.html} showing +changes from version 2.50 to 2.70, and this installation manual +{\tt install\_run\_PMX270.pdf}. If necessary, compile the FORTRAN programs. +I have tried to keep the source code as generic as possible, but minor +modifications may be needed for FORTRAN-to-C translation and/or other +compilers. + + Once you have assembled a full set of files, put the executables +somewhere in your search path or in your working directory, {\tt pmx.tex} somewhere +where \TeX\ can find it (which may or may not be part of a +TDS-compliant file structure), and the sample {\tt *.pmx} files in your working +directory (the one from which you will run \PMXX). The rest of the files can reside +wherever is convenient. Refresh the \TeX\ file name database. + +\section{Updating an existing \PMX installation} + +If you already have an older version of \PMX installed, then after unzipping the distribution +to a temporary folder, simply replace the old copies of +{\tt pmxab.exe}, {\tt scor2prt.exe}, and {pmx.tex}. Nothing more needs to be done. + +\section{Running \PMX} + +Running \PMX will be demonstrated by example, with the file {\tt barsant.pmx}. +The first thing you need to do is specify where the generated \TeX\ file is to be +placed. The path to that location is part of the setup data in the +\PMX source file, in this case the 15th line of {\tt barsant.pmx}. It is set +to {\tt ./} which represents the current folder, the one from which you will +run \PMX and the one where {\tt barsant.pmx} resides. If for some reason you +want the \TeX\ file +to go somewhere else, then replace {\tt ./} with a path---either relative +or absolute---to the desired folder. + +If you haven't done so, open a command window and navigate to the +folder containing {\tt barsant.pmx}. Execute \PMX by typing +{\tt pmxab barsant} . Alternatively, you may +just type {\tt pmxab } and you will be prompted +for a jobname, which in this case is just {\tt barsant} . +{\bfx pmxab} will generate two files in the working +directory: {\tt barsant.pml} +is a log file, and {\tt pmxaerr.dat} contains a single integer, 0 if +the run was successful, otherwise the line number in the {\tt .pmx} file of the +fatal error (useful for batch processing). Also, on successful completion, +{\tt barsant.tex} will be placed in the path specified in the setup. + +Now you are right where you would be after +entering, debugging, and rough-editing the {\tt .tex} file manually. To see +the results, process {\tt barsant.tex} just as you would for any \MusiXTeX{} +file. You must first run {\tt etex}, then {\tt musixflx}, and then {\tt etex} +again. You may view the {\tt .dvi} file so produced with a program like {\bfx yap}, +or go on and run +{\tt dvips} to create a postscript file and view that with a postscript viewer +such as {\bf GSview}. If you have used postscript slurs, dvi viewers have the disadvantage +that they will not +display them. + +To make +separate parts, run {\bfx scor2prt} by typing {\tt scor2prt barsant}. +The program will create a new {\tt .pmx} file for each instrument, in this +case {\tt barsant1.pmx} and {\tt barsant2.pmx}. +You may then process these +files like you did the original one to create separate parts. + +\section{Using scripts to ease processing} +Rather than having to manually run five programs every time you want to +process and view a {\tt .pmx} file, you may use a batch script. Such +scripts are generally platform-dependent. + +For Windows, the following is a possible batch script which produces a +postscript file: + +\begin{verbatim} +pmxab %1 +echo off +echo errorlevel +echo %errorlevel% +if not errorlevel 1 goto continue +echo stopping +goto :end +:continue +del *.mx? +etex %1 +musixflx %1 +etex %1 +dvips -O0.25in,-0.22in %1 +:end +\end{verbatim} + +To use it, copy the script into a text file, save it with a name like +{\tt gopmx.bat}, and execute it by typing {\tt gopmx barsant}. + +At the {\tt dvips} stage, this script uses offsets appropriate to the +default output of \PMX with letter-size paper, assuming that the \PMX option +{\tt Acl} has {\it not} been invoked. + +If you wish to go on and produce a PDF file, most \TeX\ systems come with +a program {\tt ps2pdf}. You could run this manually or include it in the main batch +script. It may require that the file name provided to it include the extension {\tt .ps}. + +If you have installed \PMX from one of the distribution sites, either under Windows or some +other OS, there will probably be an included script {\tt pmx2pdf}. You should be able +to produce a PDF file directly from {\tt barsant.pmx} by simply typing {\tt pmx2pdf barsant}. + +\end{document} diff --git a/Master/texmf-dist/doc/generic/pmx/pmx-install.pdf b/Master/texmf-dist/doc/generic/pmx/pmx-install.pdf index c3b1f2c0bf8..47ea2622a4e 100644 Binary files a/Master/texmf-dist/doc/generic/pmx/pmx-install.pdf and b/Master/texmf-dist/doc/generic/pmx/pmx-install.pdf differ diff --git a/Master/texmf-dist/doc/generic/pmx/pmx-install.tex b/Master/texmf-dist/doc/generic/pmx/pmx-install.tex index 478ac486a32..28498d90591 100644 --- a/Master/texmf-dist/doc/generic/pmx/pmx-install.tex +++ b/Master/texmf-dist/doc/generic/pmx/pmx-install.tex @@ -5,7 +5,7 @@ \RequirePackage{hyperref} \usepackage{xcolor} \newcommand{\myurl}[1]{\textcolor{blue}{\underline{\textcolor{black}{\url{#1}}}}} -\newcommand{\pmxVersion}{2.6.19} +\newcommand{\pmxVersion}{2.7.0} \begin{document} \title{Installation of the CTAN PMX Distribution} \author{Bob Tennent\\ @@ -145,7 +145,7 @@ on the executable PATH \emph{or} add the folder \verb|Windows| to the executable PATH, as explained above. Documentation for \verb\pmx2pdf\ is in the -\verb\doc/generic/pmx/scripts\ directory. +\verb\doc/generic/pmx/ \ directory. \section{Discussion} @@ -160,6 +160,6 @@ Support for users of MusiXTeX and related software may be obtained via the MusiXTeX mail list\footnote{% \myurl{http://tug.org/mailman/listinfo/tex-music}}. PMX may be freely copied, duplicated and used in conformance to the -GNU General Public License (Version 2, 1991, see included file \verb\gpl.txt\). +GNU General Public License (Version 3, 29 June, 2007, see included file \verb\gpl.txt\). \end{document} diff --git a/Master/texmf-dist/doc/generic/pmx/pmx25-27.html b/Master/texmf-dist/doc/generic/pmx/pmx25-27.html new file mode 100644 index 00000000000..d42010cbcc1 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pmx/pmx25-27.html @@ -0,0 +1,278 @@ + + + + + PMX beta vs 2.5 + + + +

Return

+ +

Changes from PMX 2.5 to the Latest Beta (2.622), 18 March 2013

+ +

2.501 (Note: new scor2prt)

+
    +
  • Bugfix: initialize index in PMX subroutine putorn to eliminate subscript + error detected in some compilers
  • +
  • Bugfix in scor2prt: Ignore special treatment of special + symbols if they appear between double quotes.
  • +
  • Tweak: move end of first part of line-break ties slightly to the right.
  • +
+ +

2.502 (Note: new pmx.tex)

+
    +
  • The height of a figured bass vertical stack can now be adjusted upward by + an integral number of \internote by appending "+" and the number. Recall that + it can already be moved downward 4\internote by prepending "_" (underscore). The + two options can be combined to provide full control over the vertical position.
  • +
  • Ties can now be represented with braces "{" before a note and "}" after. Both are + equivalent to "t" after the note. (Thanks to Dirk Laurie).
  • +
  • In pmx.tex all the commands of the form + \font\...=\fontid sy1000 have been changed to \font\...=cmsy10 (Thanks to + Olivier Vogel).
  • +
+ +

2.503

+
    +
  • Enable arpeggio left shift with ?-[x]
  • +
  • Allow musicsize of 24 and 29.
  • +
  • Bugfix: Fix bug introduced in 2.415 which caused error in printing replacement + number in xtup.
  • +
+ +

2.504

+
    +
  • Gap between normal grace and main note: X[x] as option to the G command, + where x is the gap size in notehead widths.
  • +
  • Bugfix: og (segno) now works OK when nv .ne. noinst.
  • +
+ +

2.505

+
    +
  • A new global option AK activates special rules for vertical positioning + of rests in two-voice staves. By way of background, without the new option, + rests in two-voice staves have default positions based on + a simple rule that is not context-sensitive: those + in the lower voice (the one before "//") are 4\internote below their + single-voice default positions, and those in the upper line are 2\internote + above the single-voice default. The new option invokes a set of + context-sensitive rules to set the default position. The baseline rule is to + align the rest in a horizontal line with the next following note in the same + bar. If there is no following note in the bar, then it is aligned with the + next prior note. If there are simulataneous rests in both voices, the old + rule is applied. When the AK option is in force, it only affects places + where there are two voices in a staff. It may be toggled on and off at the + beginning of any input block, using + just AK. When the option is in effect, any user-defined tweaks on the height + of a rest will supersede the option for that particular rest, i.e., the tweak + will be applied relative to the single-voice default position.
  • +
+ +

2.506

+
    +
  • Fixes a bug in AK. Simultaneous, equal-duration rests will be positioned + according to the default rules.
  • +
+ +

2.507

+
    +
  • Enhancement to global option AK for vertical positioning of rests in + two-voice staves (see version 2.505): The option L ("look left") in a rest will cause the + vertical position of that rest to be based on the preceding note, rather than the + following one as is the default when AK has been issued
  • +
  • Partial bugfix: In unbeamed xtuplets, the length of the bracket and position of + the number are now adjusted to account for any inserted hardspaces.
  • +
  • Bugfix: unbeamed xtups with two flags are now allowed.
  • +
+ +

2.508

+
    +
  • Allow grace notes in xtuplets.
  • +
+ +

2.509

+
    +
  • Correct small bug in arpeggio left-shifting (it got confused when there + was more than one voice on a staff).
  • +
+ +

2.510

+
    +
  • Bugfix: Correct omission of character variable declarations in new subroutine getgrace + introduced in 2.508.
  • +
+ +

2.511 (Note: new scor2prt named s2p2511.exe)

+
    +
  • Bugfix: Correct error in horizontal spacing introduced in 2.507.
  • +
  • Experiment: Remove prohibition against tempo changes in MIDI macros.
  • +
  • Bugfix in scor2prt: Make it work right when "R" command occurs at end of + input block and "/" is on next line (as produced by M-Tx).
  • +
+ +

2.512

+
    +
  • Enable multiplicity down-up "][" within xtuplet
  • +
+ +

2.513

+
    +
  • Bugfix: If there is more than one rest at start of a beamed xtuplet marked as a forced + beam, beam height and slope tweaks are now properly handled.
  • +
  • Bugfix: If an xtuplet with multiplicity 2 or 3 starts with a rest, the rest is now printed + correctly.
  • +
  • Bugfix: Unbeamed xtuplets (with option 'a' on first note) with multiplicity 2 or 3 are now printed correctly.
  • +
+ +

2.514

+
    +
  • Bugfix: Correct horizontal spacing when after-grace is immediately followed by + normal grace.
  • +
  • Bugfix: Correct transpose register when it has been changed in a single + after-grace.
  • +
+ +

2.515

+
    +
  • Bugfix: Correct error in automatic forced beams. Before the fix, if the + beam did not start an integral number of beam durations from the start of + the bar, incorrect results would occur. +
  • Bugfix: Properly center fermata over centered whole-bar rest.
  • +
+ +

2.516 (Note: new pmx.tex)

+
    +
  • Allow figures in voice #2.
  • +
+ +

2.517

+
    +
  • Allow figures in two voices, voice 1 and any other one.
  • +
+ +

2.518

+
    +
  • Bug fixes in 2-voice figures.
  • +
+ +

2.519

+
    +
  • Fix bug that prevented \sk from being output, misaligning some voices.
  • +
+ +

2.520

+
    +
  • New feature: special characters 2+, 4+, 5+, 6+, 9+ for figured bass. In the PMX + string for any figure, follow the number by 's'. This uses the font cmrj from the + new package figbas. You must install this font in your TeX setup for this to work.
  • +
+ +

2.521

+
    +
  • Bugfix: Font definition syntax corrected so no extra space is introduced.
  • +
+ +

2.602 (Note: new pmx.tex; requires eTeX)

+
    +
  • Allow 24 voices, beams, slurs. Require etex.
  • +
  • Include comment about doubling size of internal buffer to 131072, requiring gfortran for Windows to compile.
  • +
  • Correct slur indexing in linebreakslurs.
  • +
  • Account for comment lines in line count for error messages
  • +
+ +

2.603 (Note: new scor2prt)

+
    +
  • In getpmxmod.for, decrease nline by 2 to fix locating errors + following reading in an include file. +
  • Add some error messages in g1etset.for setup data +
+ +

2.610

+
    +
  • Instrument-wise transposition: Ki[instrument #][+/-][trans amt.][+/-][new key]. + For more than one instrument, may immediately repeat everything after "K". Must + either be at start of score (right after setup), or if later, must be preceded + by normal (full score) key + change command K+0[+/-][new key]. Must be used with relative accidentals ("Ar"). + Part(s) to be transposed must be entered in concert key, and will appear transposed + in the score. MIDI behavior not yet + tested. Has not yet been integrated into scor2prt, so for now + if you want to make parts, only use Ki... as score-only (on line after "%%") and/or + instrument only (on same line after %[Instrument #]). +
+ +

2.613

+
    +
  • Set error trap if "D" is entered before any notes.
  • +
  • Enhance "AS" to allow spacing adjustments tailored for either smallsize or + tinysize. As before, "AS" must be followed by nv characters, but now they + may be "0" for normal, "-" or "s" for small, or "t" for tiny. Still must + set sizes of instruments with inline TeX.
  • +
  • Bugfix: Fixed broken "K-..." in 2.610. +
+ +

2.614

+
    +
  • Bugfix: revise raised dotted rests by separately raising rest and dot. +
+ +

2.615 (Note: new scor2prt)

+
    +
  • Command "AS", described above under 2.163, now also causes staff sizes to change + (in score only, not parts), so inline TeX is no longer needed to change sizes of + selected staves.
  • +
  • Scor2prt transfers partwise transposition commands Ki... (see 2.610 above) + into parts.
  • +
+ +

2.616

+
    +
  • "Feature" added: Hairpin dynamics now may span input blocks.
  • +
+ +

2.617

+
    +
  • Repaired several obscure bugs related to platform and compiler dependencies; + see pmxab.for for details. +
  • +
+ +

2.618

+
    +
  • For letter and a4 paper respectively, commands "Acl" and "Ac4" set horizontal + and vertical sizes and offsets that center the page with no further adjustments + required in dvips.
  • +
+ +

2.619 (Note: new pmx.tex)

+
    +
  • Several changes at movement breaks to improve compatibility with M-Tx + and musixlyr.
  • +
+ +

2.621

+
    +
  • Bugfix: Made keyboard rest positioning ("AK" command) work properly + when there are rests are within xtuplets. + Also fine-tune default positioning of number and + bracket in unbeamed xtuplets containing rests. Position of both can still + be overridden with options on first note command for xtuplet.
  • +
+ +

2.622

+
    +
  • New option in "K" command: "Kn..." inserts \ignorenats before signature + change, supressing naturals in new signature
  • +
  • Many small fixes in transposition and key changes with "K", "Ki", and + "IT" to make MIDI come out OK. Basic function of "K" and "Ki" unchanged. + "IT[+/- n1][+/- n2]..." now transposes MIDI by \internotes, not half steps + as before. E.g. to transpose MIDI of 2nd instrument out of 3 up by one octave, + use "IT+0+7+0". May also use to untranspose a transposing instrument that + has been entered transposed, to make MIDI come out right.
  • + +

    Return

    +

    Revised 18 March 2013, Don Simons (dsimons at roadrunner dot com)

    + + + diff --git a/Master/texmf-dist/doc/generic/pmx/pmx260.pdf b/Master/texmf-dist/doc/generic/pmx/pmx260.pdf deleted file mode 100644 index 732af94c3a8..00000000000 Binary files a/Master/texmf-dist/doc/generic/pmx/pmx260.pdf and /dev/null differ diff --git a/Master/texmf-dist/doc/generic/pmx/pmx260.tex b/Master/texmf-dist/doc/generic/pmx/pmx260.tex deleted file mode 100644 index 193257243b9..00000000000 --- a/Master/texmf-dist/doc/generic/pmx/pmx260.tex +++ /dev/null @@ -1,2230 +0,0 @@ -%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% -% -% pmx260.tex 21 Feb 2010 -% -%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% -% -% To do for next version -% -% Describe IT, MIDI transposition -% -%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% -%\documentstyle[11pt]{article} -\documentclass[11pt]{article} -% -\let\reft\ref -% \usepackage[ten]{vrsion} -% \usepackage[T1]{fontenc} -% \usepackage[cp437]{inputenc} -% \usepackage[english]{babel} -% \usepackage{amsmath,index} -% \usepackage[dvips]{graphicx} -% \usepackage[dvips]{hyperref} - \usepackage[dvips,colorlinks=true,linkcolor=blue]{hyperref} - \usepackage[dvips]{graphicx} -% -\def\MusiXTeX{MusiX\TeX} -\def\bs{{\tt\char'134}} -%\newcommand\PMXX{{\bfx PMX}} -\newcommand\PMXX{\textbf{PMX}} -\newcommand\PMX{\PMXX~} -\newcommand\IMA{\href{http://Icking-Music-Archive.org}{\underline{Icking Music Archive}}} -%\newcommand{\dotPMX}{\textbf .pmx} -% Use \bfx for program names only. Use \bf for single embedded letters -\font\bfx=cmb10 scaled\magstephalf -\font\bfi=cmbxti10 scaled\magstephalf -\font\specfig=cmrj -%\setcounter{secnumdepth}1 -\setcounter{secnumdepth}3 -\setcounter{tocdepth}3 -\def\Bslash{\tt\char'134} -\def\|{{\tt\char'174}} -\def\LBR{{\tt\char'173}} -\def\RBR{{\tt\char'175}} -\textheight= 9.5in \voffset-.8in% -\textwidth= 6.5in \hoffset-1.0in -\def\newfrom{2.49} % changed every now and then -\def\NEW#1{\ifdim#1 pt<\newfrom pt\else% -\marginpar{\fbox{#1}}\fi} - -\hoffset-54pt - -\let\rulet\rule\def\rule#1#2{\if#1<#2\rulet{.05in}{#2}\else\relet{#1}{.05in}\fi} - -\begin{document} - -\raggedright -\parindent24pt - -\title{ - \Huge\bf - PMX~--~a Preprocessor for \MusiXTeX{}\\ - \null\vskip-15pt - \Large\sl - Version 2.6~--~July 2010\\ - \author{\Large\rm Don \sc Simons\\ - \large\sl - Dr. Don's PC and Harpsichord Emporium\\ - \normalsize\sl - Redondo Beach, California, USA.\\ -% To make the bitmapped eps: (1) TeX file with cmtt scaled 2500, -% (2) dvips -> gsview -> pdf. -% (3) gwin32 -sDEVICE=pnggray -sOutputFile=file.png -r100 -dEPSCrop -dbatch -q -% -dNOPAUSE -dTextAlphaBits=4 file.eps -c quit -% (4) file.png -> GIMP (crop out blank space) -> save as .eps. - \includegraphics[scale=0.4]{file600.eps}}} -\date{} - -\maketitle - -\section*{Preface} -Compared to prior releases, version 2.60 of PMX has been expanded -to take advantage of the increased capacity of \MusiXTeX~T.115. To directly -process -\TeX~files created by \PMX2.60, a decision was made to require both -\MusiXTeX~T.115 and e-\TeX. Free versions of both are readily available on the internet, -and together they can process any earlier \PMX source file. - -\setcounter{page}1 -\tableofcontents -%\setcounter{secnumdepth}1 -\pagestyle{headings} - -%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% -\def\boxitsep{10pt} -\let\hrt\hrule\def\hrule{\hrt height2pt} -\let\vrt\vrule\def\vrule{\vrt width2pt} -\def\boxit#1{\vbox{\hrule\hbox{\vrule\kern\boxitsep\vbox{% -\kern\boxitsep\hbox{#1}\kern\boxitsep}\kern\boxitsep\vrule}\hrule}} -\font\ded=cmssdc10 scaled \magstep3 -\bigskip -\setbox4=\vbox{ - \hsize3in\noindent\strut - \centerline{\ded Dedication} -\vskip 3pt -The \MusiXTeX~community was stunned by the sudden death of Werner Icking on -\break February 8, 2001. He had been a benevolent patriarch, touching many -of us not only -with his technical savvy and gentle guidance, but also his genuine kindness -and generosity. His spirit runs deep through all of \PMX. His encouragement -fueled its development from the very beginning up to its current state. Most -of the enhancements have been his proposals, including one he made on what -turned out to be his last day. Werner, my friend, I dedicate this work to -you and your memory. -} -\vfill -$$\boxit{\box4}$$ -\let\hrule\hrt\let\vrule\vrt -\vfill -\eject - -\section{Introduction} -%\setcounter{secnumdepth}1 - - \PMX is a preprocessor for \MusiXTeX{}. To use it to its full -benefit you should have installed \MusiXTeX~Version 2.15 \NEW{2.6} or higher, and -any available version of \TeX~that includes e-\TeX. The goal of \PMX is to -facilitate the efficient typesetting of scores and parts -that have an almost professional appearance. It can do {\it all} the work -involved in setting up {\tt \bs notes-\bs enotes} groupings, -selecting groups of -notes to be beamed, defining beam heights and slopes, spreading the -entire piece evenly over specified numbers of systems and pages, and inserting -extra spaces where needed to make room for accidentals, flags, dots, -and new clefs. The input language for \PMX is much simpler than -\MusiXTeX. You can enter note values and rests from 64ths to double -whole notes ({\it breves}), ornaments, slurs, and limited text strings. Every -voice in every bar must have exactly the correct number of beats in -the current meter, but you may change the meter at the beginning of any -measure, with or without printing the new time signature. Before making a -\TeX{} file, \PMX checks these timings and other aspects of the input. -\PMX has special features for dealing with baroque chamber music, including -the ability -to notate figured bass below the bottom staff in each system. If \PMX hasn't -yet learned to do something you want to do, you can usually work around the -problem by inserting literal \TeX\ strings in the \PMX input file. - - You can automatically create parts from a score using {\bfx scor2prt}. -This auxiliary program generates a set of {\tt .pmx} input files, one for -each part, from a single {\tt .pmx} file for the score. -You can control the appearance of the -parts with special commands in the main file, thereby making it -possible to include within a single input file all the information -that defines the score and the individual parts. - -The native language of \PMX is FORTRAN and its home port is DOS. The basic -distribution contains the FORTRAN sources, and binaries that will run in a DOS -\NEW{2.0} window on a PC with WINDOWS95 or higher. Availability of -ready-made distributions for other operating systems depends on volunteer -efforts; they will be posted as submitted to the software section -of the -\href{http://icking-music-archive.org/software/indexmt6.html} -{\underline{Werner Icking Archive}}. - -\subsection{Conventions for This Manual} - - Hey, this is boring stuff, but if you take a minute to understand -the typographic conventions and a little jargon, -it may avoid some confusion down the road. - - The typewriter typeface always indicates verbatim text as it would -be input to a computer. This includes file names, \MusiXTeX{} tokens, and -\PMX commands, e.g., {\tt barsant.pmx, \bs internote, c44}. - - Bold is used for program names (e.g., {\bfx pmxab}), or when applied -to a single letter, to relate a \PMX command to its meaning (e.g., ``{\tt e} -signifies a l{\bf e}ft shift''). - - When\NEW{2.5}~viewing the PDF version of this document on a computer -screen, clickable internal hyperlinks are colored blue, and clickable external -links are underlined and colored cyan. - - Italics may mean several different things depending on the context: -simple emphasis, or the first appearance of {\it jargon} -(buzz-words that need to be explicitly defined), or finally -to represent input variables for which some verbatim text would need to be -substituted. In the latter case the variable will be surrounded by -square brackets, e.g., [{\it basename}], but the brackets are not to be -included with the substituted text. - - Speaking of jargon, there are several special words that have very -specific meanings here: A {\it staff} is one set of 5 lines (plural -{\it staves}), a {\it system} is a group of staves, and {\it voice} refers to -one of the one or two -simultaneous allowable sequences of notes in a staff. Note that this -is a change \NEW{2.5}from versions prior to 2.5, where {\it voice} was used -interchangeably with staff. - -A \PMX {\it command} is a string of characters with no spaces between them. -The first character determines the type of command. Any other characters -are parameters that may be either required or optional. Sometimes we loosely -use the word {\it command} to refer just to the initial character. - -\subsection{Setup} - - This section describes the setup for the DOS version or for those -compiling the FORTRAN source. - - After decompressing the distribution file {\tt pmx260.zip}, -you should have these -files: \NEW{2.6} {\tt pmx260.for}, {\tt scor2prt.for}, two -DOS executables {\tt pmxab.exe} and {\tt scor2prt.exe}, several sample -{\tt .pmx} files, -{\tt pmx.tex}, {\tt ref260.tex} (\TeX\ source for a command summary), -{\tt pmx260.tex }(\TeX\ source for this file), -PDF images of the latter two files. and {\tt pmx24-26.html} showing -changes from version 2.40 to 2.60. -If necessary, compile the FORTRAN programs. -I have tried to keep the source code as generic as possible, but minor -modifications may be needed for FORTRAN-to-C translation and/or other -compilers. - - Once you have assembled a full set of files, put the executables -somewhere in the path or in your working directory, {\tt pmx.tex} into the -texinput directory, and the sample {\tt .pmx} files in your working -directory (the one from which you will run \PMXX). - -\subsection{Basic Operation, by Example} - -Edit the 15th line of {\tt barsant.pmx} to contain the path to the -directory where you want \PMX to write the {\tt .tex} file. For example, -if you want this to be the same as the working directory, type {\tt .\bs}~for DOS, -or {\tt ./} for UNIX. - -Execute \PMX by typing {\tt pmxab barsant} . \NEW{2.0} Alternatively, you may -just type {\tt pmxab } and you will be prompted -for a jobname. {\bfx pmxab} will always generate two files in the working -directory: {\tt barsant.pml} -is a log file, and {\tt pmxaerr.dat} contains a single integer, 0 if -the run was successful, otherwise the line number in the {\tt .pmx} file of the -fatal error (useful for batch processing). Also, on successful completion, -{\tt barsant.tex} will be placed in the path specified in the setup. - -Now you are right where you would be after -entering, debugging, and rough-editing the {\tt .tex} file manually. To see -the results, process {\tt barsant.tex} just as you would for any \MusiXTeX{} -file, running all three passes, and view the {\tt .dvi} file. To make -separate parts, run {\bfx scor2prt} by typing {\tt scor2prt barsant} .\NEW{2.0} -The program will create a new {\tt .pmx} file for each instrument, in this -case {\tt barsant1.pmx} and {\tt barsant2.pmx}. -You may then process these -files like you did the original one to create separate parts. - -\section{Elements of PMX} -\def\l@subsection{\@dottedtocline{2}{5em}{20em}}%original 2 3.8 3.2 -%\setcounter{secnumdepth}2 - -\subsection{Setup Data in the Input File} \label{setupdata} - - To see how the input file is put together, we'll look at -{\tt barsant.pmx}. For reference, here are are the first few lines: -\begin{verbatim} -%----------------% -% -% barsant.pmx Revised 29 June 2002 -% -%----------------% -% -% nv,noinst,mtrnuml,mtrdenl,mtrnmp,mtrdnp,xmtrnum0,isig, - 2 2 4 4 0 6 0 0 -% -% npages,nsyst,musicsize,fracindent - 1 7 20 0.07 -Basso -Recorder -bt -./ -\end{verbatim} -The lines -with {\tt \%} in column 1 are comments. -Some special handling of comment lines will be -discussed in the section on creating parts from a score in -section~\ref{scor2prt}. - -The rest of the lines in this example are the {\it setup data}. -Starting in the first non-comment line above, - -{\tt nv} (integer$\leq$24) \NEW{2.6} is the total number of -sta{\bf v}es per system. Each staff may contain either one or two voices, -but the total number of voices at any one time may not exceed 24. - -{\tt noinst} (integer$\leq${\tt nv}) is number of {\it instruments}. Each -instrument has a unique name (see below), and any instrument -with more than one staff will have its staves joined with a curly bracket. -Usually there is only one staff per instrument and {\tt noinst=nv}. There -are two ways to assign more than one staff to one or more instruments. -If only the first (lowest) instrument has more than one staff, such as in -a score for piano and a solo instrument, simply make -{\tt noinst$<$nv} and any difference will show up in instrument 1, the bottom -one in each system. -\NEW{1.4} For a -more general distribution of staves among instruments, -put a minus sign in front of {\tt noinst}, -and follow {\tt noinst} with the number of staves in each instrument in -succession, separated by spaces. These numbers must add up to {\tt nv} or your -computer will explode. For a typical example of keyboard music, see -{\tt mwalmnd.pmx}, in which {\tt nv=2} and {\tt noinst=1}, producing two -staves per system with a curly bracket at the left. - -The number of instruments can be changed as well after the start of the -score, but only to a number less than the original one. See -section~\ref{movbrk} to learn how to start with a smaller -number of instruments and later increase it. - -{\tt mtrnuml} is the {\it logical} numerator of the meter, or the number of -beats per measure; {\tt mtrdenl} the denominator. Please note the special -considerations in the paragraph after the next. If {\tt mtrnuml} is -divisible by 2 or 3, beam grouping will be automatic; otherwise you will -have to force all beams using {\tt [}$\dots${\tt ]} as described in -section~\ref{beams}. - -{\tt mtrnmp} and {\tt mtrdnp} are the {\it printed} numerator and denominator. -These determine the appearance of the meter in the printed output but -have no effect on the internal timing analysis. If {\tt mtrnmp$>$0} then it -and {\tt mtrdnp} are printed literally as the numerator and denominator -of the time signature. Please note the special considerations in the following -paragraph. If -{\tt mtrnmp$<$0}, then the numerator is abs({\tt mtrnmp}) and the -entire time signature will be printed with a vertical slash through -it. If {\tt mtrnmp}=0, then {\tt mtrdnp} determines the printed meter -as follows: - -\medskip - -\begin{tabular}{ll} -\tt 0 & No meter is printed ({\it blind} meter change)\\ -\tt 1, 2, 3, or 4 & A single digit, between the 2nd and 4th lines\\ -\tt 5 & Cut time (alla breve)\\ -\tt 6 & Common time\\ -\tt 7 & Numeral 3 with a vertical slash\\ -\end{tabular} - -\medskip - -There are special considerations for n/16 and n/1 time signatures (where the -latter "1" normally means a whole note). To get -n/1 time, use {\tt 0} (zero) for {\tt mtrdenl} and {\tt 1} for {\tt mtrdnp}. To -remember this rule, recall that the printed denominator is taken literally, -while the logical denominator can always be represented -by the same single digit used for the corresponding time value when entering -ordinary notes (see section~\ref{notes}). So -for n/16 time, use {\tt 1} for {\tt mtrdenl} and {\tt 16} for {\tt mtrdnp}. - -If the first bar is a partial bar containing a pickup, {\tt xmtrnum0} is -the number of beats in it; otherwise set it to 0. It need not be an -integer. The first bar is the {\it only} bar that can have a different -number of beats than the current value of {\tt mtrnuml} (Later we'll see how -to change the meter). - -{\tt isig} is the key signature, positive integer for sharps, negative for -flats. - -If {\tt npages}$>$0, it is the number of pages and {\tt nsyst} is the total -number of systems in the entire piece. \PMX will spread the entire -piece horizontally over this number of systems, and vertically over -{\tt npages} pages. For proper vertical spacing there should be from -about 9 to 16 staves per page. If you specify too many staves for the number -pages, one or more staves may spill over onto an extra sheet. If this -happens it will only become obvious when you preview the {\tt .dvi} file. -One solution is to use the global option {\tt Ae} -(see section~\ref{AeDirective}); another is to increase {\tt npages} or -decrease {\tt nsyst}. - -If {\tt npages} is set to 0, then {\tt nsyst} is interpreted as the average -number of measures per system. This is useful while building up a -file a little at a time. \PMX will calculate how many systems to use, and -spread them over an appropriate number of pages. - -{\tt musicsize} is 16, 20, 24, or 29, the height of a staff in points, with -20 considered the default\NEW{2.6}. - -{\tt fracindent} is the indentation of the first system from the left -margin, expressed as a decimal fraction of the total line width. - -Next come the names of the {\tt noinst} instruments as you want them to -appear within the indentation in the first system, one per line, -starting with the {\it bottom} instrument. If you've set {\tt fracindent}=0 -and don't -want instrument names to appear, you must still leave {\tt noinst} -blank lines here. Next comes a single string of {\tt nv} -letters or numbers for the clefs, again starting with the bottom staff: -\label{ClefCodes} -{\tt b,~r,~n,~a,~m,~s,~t,~f} or digits 0-7 respectively for {\bf b}ass, -ba{\bf r}itone, te{\bf n}or, {\bf a}lto, {\bf m}ezzo-soprano, {\bf s}oprano, -{\bf t}reble, or \NEW{2.2} {\bf F}rench violin clef. -The last line of setup data contains the path to the directory -where you want the {\tt tex} file to go when \PMX creates it. The one -in {\tt barsant.pmx}~, -{\tt ./}~, represents the current directory in UNIX and some versions of DOS. -The path must terminate with {\tt /} or {\tt \bs}~. - -\subsection{Structure of the Body of the Input File} \label{structure} - - The rest of the {\tt .pmx} file is the {\it body} of the input. -The basic unit of input from here on is called an {\it input block} or -just {\it block}, each one representing an integral number of bars. If there -is a pickup bar defined by {\tt xmtrnum0} $>$ 0, -it must be included in the first block {\it together with at least one full bar}. -If you wish to put a pickup in a separate block, for example at the start -of a new movement, set the initial logical -meter to fit the pickup bar, then after the pickup bar do a blind meter change -as described in section~\ref{MeterChange}). - -There will usually be -4 to 8 bars in a block. 15 is the most allowed. It is good practice -to separate the blocks with comment lines that state which bars are -represented, as I've done in {\tt barsant.pmx}. -It is also advisable, although not required, to separate the bars with -the command {\tt |}. Its main functions -are to provide visual separation in the input file, and to help isolate input -errors: if you put one anywhere except -at a bar-end, {\bfx pmxab} will stop and show you where it detected the -timing error. Otherwise, with several minor exceptions, -{\tt |} has no effect. - -At the start of each block there may be a few special commands -(described starting in section~\ref{pmxcmds}). -Next come the input data for the selected number -of bars of the first (lowest in the system) voice in the first staff, followed by -either {\tt /} to move to the next staff, or {\tt //} to move to the next voice -on the same staff. Each new voice must start on a new line -in the input file, i.e., there should be no further data on the same input line -after {\tt /} or {\tt // }. - Continue entering other voices, each with -{\it exactly} the same number of bars as the first, -terminated by {\tt /} or {\tt //}, until - the last (topmost in the system) ends with a {\tt /} and the block is -finished. Within -a block every voice must have the same number of bars, but every block -needn't have the same number of bars as other blocks. The number of -voices in a staff can only be 1 or 2, and cannot change within a block, but -may vary from block to block. - - The data for each voice in each staff are a sequence of commands -containing one or more adjacent characters. Commands are separated from each -other by spaces. The line-terminating commands {\tt /} and {\tt //} should also -naturally be preceded by a space. - -\subsubsection{Notes} \label{notes} - - Commands for notes always start with a lower-case letter and, as -with all commands, end at -the first space. The first letter is the note name ({\tt a-g}). The -rest of the characters can be in any order with only a few -restrictions. The first digit defines the {\it basic time value} of the -note: {\tt 9, 0, 2, 4, 8, 1, 3} or {\tt 6} respectively for double-whole, -whole, half, quarter, -eighth, sixteenth, thirty-second, and sixty-fourth notes. The second -digit sets the octave (for reference, octave 4 runs from middle C to -the B above). Certain letters may appear after the initial one: {\tt d} -for {\bf d}ot; {\tt dd} for \NEW{1.4} double dot; -{\tt f, n,} or {\tt s} for {\bf f}lat, {\bf n}atural, -or {\bf s}harp (repeat the letter -immediately for a double); {\tt u} or {\tt l}, which force the stem -direction of any un-beamed note; {\tt e} or {\tt r} to shift the notehead -l{\bf e}ft -or {\bf r}ight by its own width; and {\tt a} (for {\bf a}lone) which inhibits -beaming for this note (or, if the first note of an xtuplet, for the -entire xtuplet). \NEW{2.4}A single accidental may be followed by {\tt c} to -make it {\bf c}autionary, i.e., surround it with parentheses. -Alternatively, it may also be followed by {\tt i} to -suppress typesetting \NEW{2.3} but still have -the M{\bf I}DI processor honor the accidental. Other characters allowed in note -commands are {\tt +}, {\tt -}, {\tt .}(period), {\tt ,}(comma), {\tt x}, and -several special characters following {\tt x}, all to be described below. -Between the first letter and the end or {\tt x} if present, -non-digits can be in any order with respect to each other and to the digits, -with minor exceptions involving shifting dots and accidentals. - -To move -a dot from its default location, simply follow the {\tt d} -with one or two decimal numbers, each predeced by -{\tt +} or {\tt -}. -The first is the -vertical shift in \bs{\tt internote}s, the second, the horizontal shift in -notehead widths. - -\label{AccidentalPosition} -Accidentals \NEW{1.4} can be shifted too. One way is to enter -{\tt +} or {\tt -} right after the accidental character, -then an integer -for the vertical shift, then another {\tt +} or {\tt -} followed by the -horizontal shift in notehead widths. If you use this method, you {\it must} -enter both numbers. Or, to just shift horizontally, use -{\tt <} or {\tt >} followed by the shift in notehead widths. When shifting -a sharp to avoid another sharp, a left shift of 0.85 is usually best. When -shifting a flat to avoid a flat above it, a left shift of 0.3 is suggested. -In chords where all the notes are in the same \NEW{2.4}voice, -\PMX will automatically shift accidentals if required. This will be disabled -for the current chord -if any user-defined accidental shifts are entered, unless {\tt A} is entered -along with the shift, e.g., {\tt zcsA<.5} . In that case the user-defined -shift will be added to the PMX-computed one. -\NEW{2.4} Another option that affects accidental positioning in -chords is {\tt Ao}, -entered in the main note command of a chord. It will force the accidentals -in that chord will be posted in the order -they come in the source file (starting with the main note), each one as far -to the right as it will go without crashing into a notehead, stem, or -another accidental. - - - Dots and accidentals always have to be entered when and if a note -calls for them. i.e., they are never carried over from previous notes. -On the other hand, the octave only needs to be entered if the note is -more than a fourth away from the most recent note in the same voice. -This feature lets you go for long stretches in a voice before needing -to enter the octave. An alternate way to jump more than a fourth but -less than a twelfth is to type {\tt +} or {\tt -}. In other words, these -mean to put the note an octave higher or lower than it -otherwise would have gone. Two {\tt +}'s will raise the pitch two octaves -above what it otherwise would have been, and so forth. -The basic time -value is also carried over from the past if it is not re-entered, -except for the first note or rest in each voice in an input block, -for which it {\it must} be entered. -Therefore, when the melody jumps more than a 4th, using {\tt +} or {\tt -} is -often more convenient than using a digit. This is because in order to -use the digit, you must first enter the basic time value whether it -changes or not. - - For example {\tt c44 d e f g a b c c0-} is an ascending quarter-note -scale starting on middle C, followed by an octave jump down to a -whole note middle C. - - Explicit octave \NEW{2.1} numbers can be combined with one or -more {\tt +} or {\tt -} . In earlier versions, {\tt +} or {\tt -} was -ignored if an octave number was specified. This is a slight backward -incompatibility; \PMX prints a warning when it happens. - -Stem length \NEW{2.4} can be shortened by {\it x} \bs{\tt internote} with -the option {\tt S}{\it x}~. {\it x} is restricted to the range (.5,4.0). -The shortening can be made ``sticky'' by following the number {\it x} with -{\tt :} . Stickiness is terminated by {\tt S:} . - -The first note command in each voice in a block must -contain at a minimum the note name or {\tt r} for a rest (see below), -and a basic time value. For notes, it is good practice and can simplify -editing -if in addition an explicit octave is set here. However if it is not, -\PMX will make some assumptions. At \NEW{2.4} the start of the first -input block the pitch will be set as if the prior note were middle C. -In later blocks \PMX will use the -obvious inheritance rules from the end of the prior block. -However, if the number of voices in a staff -has changed from the prior block, it is safest to reset the octave at the -start of a new block. Duration is never inherited and must be set at the -start of each input block. - - Dots can be a little tricky, because even though they affect the -actual time value, they don't affect the basic time value, and it is only the -latter that is ``sticky". Therefore, if a note is dotted, you always have to -enter a {\tt d} (or a period, see next paragraph) somewhere within the -command, after -the note name, even if the actual time value and octave are the same -as the prior note. But the {\it basic} time value need not be re-entered if -it hasn't changed (unless the note is more than a fourth from the -prior note {\it and} you have for some strange reason elected to indicate the -octave with a number rather than {\tt +} or {\tt -} ). So for example, -consecutive dotted half notes, each within a fourth of the previous -one, could be most cleanly entered as {\tt cd24 ed gd ed}, whereas {\tt cd24 e} -would represent a dotted half note followed by a plain half note -(since the basic time value--as defined by the first digit--was a half -note all along). - - There are two special shortcut rhythmic notations. For normal dotted -rhythms (3:1 ratio), if you -include a period ({\tt .}) in the note command, it will -(a) assign a dot to the note just entered, (b) terminate that note, -(c) prepare to -receive the next note name {\it without any space}, and (d)~automatically -assign a time value to the second note equal to one-third of the first one. -No time value may be entered for the second note, but octave and accidental -data may. Ornaments and slurs (see below) following this command will apply -to the second member. If you need to follow the main note -with some modifying -\NEW{2.3} -command, you can still use the shortcut ({\tt .}) after that command and a -space. -The main advantage of this shortcut comes if you want to -follow one dotted pair with another of the same rhythm; then you -needn't enter any explicit time value for {\it either} member of the second pair. -This is possible because after using the shortcut, -the basic (inheritable) duration is set to that of the -{\it first} note in the pair, without the dot. - - For paired notes with 2:1 rhythmic ratios, the character {\tt ,}~(comma) -behaves similarly to the {\tt .}~(period) for 3:1 rhythms. - - Xtuplets can have from 2 to 24 notes or\NEW{1.4} rests. Normally they -all have the same duration, but there are several options---described -below---to change this. The command for the first note of an xtuplet begins -exactly like a -note or rest command, with the name of the first note in the xtuplet, or -{\tt r} if it starts with a {\bf r}est (see next subsection), and an optional -time value. -However, the actual time value (including a dot if present and a basic -duration that may have been inherited from the prior note) now represents the -{\it total} duration of the xtuplet. Next (with no space, as usual) comes -{\tt x} followed by a one- or two-digit integer for the number of notes in -the xtuplet. The only options allowed immediately following the number are -{\tt d} and {\tt n} . \NEW{2.4}{\tt d} signifies that the {\it first} note -of the xtuplet should have a dot and the second, and extra flag. -{\tt n} controls the printing of the {\bf n}umber and bracket. -If {\tt n} is followed by a blank, then no number will be -printed. On the other hand, -an \NEW{2.3}{\it unsigned} integer here is taken as a substitute number to -be printed instead of the natural one. -If one or two {\it signed} decimal numbers follow {\tt n} -(each starting with {\tt +} or {\tt -}), the first -is a vertical shift in {\tt \bs internote}s, and the second, a horizontal shift -in notehead widths. Another suboption to {\tt n} is {\tt f}, -to {\bf f}lip the number vertically from its default position. A \NEW{2.5}final -suboption to {\tt n} is {\tt s} followed by a signed integer. It applies only -to non-beamed xtuplets, for which it tweaks the slope of the bracket above or -below the xtuplet. For non-beamed xtuplets, you can further change the -appearance of the bracket and number as explain in section~\ref{ATDirective}. - -The second through last notes of the xtuplet are each then -represented by a separate command containing a subset of the characters -permitted for ordinary notes or rests: note name or {\tt r} (the only required -character), accidental, and octave change character ({\tt +} or {\tt -}). -\NEW{1.4} The octave may be given explicitly instead, and any integer will be -interpreted as such, as no time values or dots are permitted. - -The last note of an xtuplet may not be a\NEW{1.4} rest. - -To double\NEW{2.3} the duration of any note in an xtuplet, add the -character {\tt D} to the command for that note. This will decrease the expected -number of notes in the xtuplet by one. To add a dot to the doubled note -(as Bach sometimes did), use {\tt F} instead of {\tt D}. -\NEW{2.4}To add a dot to one -note and an extra flag to the next, include {\tt d} in the note command, -{\it after} the {\tt x} if it's the first note of the xtuplet as noted above. - -As an example, an ascending quarter-note triplet scale would be -notated\hfil\break {\tt~c44x3~d~e~f4x3~g~a~b4x3~c~d~\dots} - -\subsubsection{Rests} - - The command for a rest starts with {\tt r}. -Then for a normal rest, in either order come a digit for the basic time value -(using same codes as for notes, optional if unchanged from previous value), -a {\tt d} if the rest is dotted, and a second {\tt d} if double dotted. -\NEW{2.0} The basic time value of a rest -affects future notes and rests the same as if it had come from a note, -i.e., it applies until another value is entered with a subsequent note -or rest in the same voice. The command {\tt rp} represents a -full-bar rest notated with a {\bfi p}{\it ause} character (whole rest) -regardless of -the time signature; in this case no other duration information is -needed or allowed. {\tt rb}, followed if necessary by a duration -specifier, denotes a {\bfi b}{\it lank} rest, one that occupies space and time -but is invisible. This is most often used when there are -two voices in a staff and one drops out for some of the duration -of the current input block. (See {\tt mwalmnd.pmx} for examples). -\NEW{1.4} The -option {\tt o} (for {\bf o}ff-center) suppresses centering a full bar rest. If -you don't exercise this option, then -{\it all} full-bar rests will be horizontally centered between bar -lines, including pauses ({\tt rp}) as well as normal rests that fill the bar. -\label{MultibarRest}{\tt rm} followed immediately by an integer will generate a -{\bfi m}{\it ulti-bar} -rest, a special combination of characters between two bar lines with an integer -above representing two or more bars of rest. -This command will generally only be used in separate parts -after having been automatically generated by {\bfx scor2prt}. However, it -\NEW{2.4}may be used in a multi-line score, provided it is entered for the same -number of bars in every staff. - - The default vertical position of a rest depends on whether there -are one or two voices in the staff. -For one voice it is just the \MusiXTeX{} default -(approximately centered on the middle line). On the other hand, in -the lower voice in -a two-voice staff, the rest is lowered {\tt 4\bs internote}, while -in the upper voice it is raised {\tt 2\bs internote}. The \PMX default can be -manually overridden by appending {\tt +}~or~{\tt -} and an integer -representing the offset from the {\it middle} line of the staff -(not from the \PMX default if there are two voices in the staff!). -So for example, in a single staff -in 3/4 meter, two voices, each with a half note followed by its own -quarter rest would be either -\begin{verbatim} -c24 r4 // -c25 r4 / -\end{verbatim} -or equivalently -\begin{verbatim} -c24 r4-4 // -c25 r4+2 / -\end{verbatim} -while -\begin{verbatim} -c24 r4+0 // -c25 r4b / -\end{verbatim} -would produce two notes followed by a single, vertically centered rest. - -\subsubsection{Chords} - - Chordal notes, which always share a stem and the same time value as the -prior note, are symbolized with {\tt z} followed by a note name and -optionally an accidental, {\tt +} or {\tt -} as octave indicator, and {\tt e} -or {\tt r} for a l{\bf e}ft or {\bf r}ight shift by one notehead width. -No basic time value is allowed. If the main note -is dotted, then the chordal note will appear with a dot regardless of whether -a {\tt d} is entered. The only time a {\tt d} is required in a chordal note -command is if the dot's position is to be adjusted; in this case the -{\tt d} is required, followed by one or two decimal numbers, each preceded by -{\tt +} or {\tt -}. The first is the vertical shift in \bs{\tt internote}s; -the second, the horizontal shift in notehead widths. -Any number of chordal notes can follow a -single main note. The stem direction of a chord is controlled by the main -note, but may be manually overridden with {\tt u} or {\tt l} in the main note -command. - - When chordal notes are beamed together, the default height and angle of -the beam will be determined by the main note on each stem (the one without -{\tt z}). If a beam joining chordal notes looks bad, you can usually -fix it either by changing which note acts as the main one, -or by fine-tuning the beam parameters as described -in section~\ref{beams}. - -\PMX uses a complex algorithm to automatically position accidentals in chords. -If you are unhappy with the result, you can manually tweak the horizontal -positions as described in section~\ref{AccidentalPosition}. - -\subsubsection{Grace notes}\label{graces} - - A grace note command starts with a {\tt G}. It is entered in its natural -order, normally before the main note, but sometimes after. After {\tt G} and -before the note name, comes any -combination of the following options: a single digit representing the number of -notes in the grace (default is 1), {\tt m} and a digit for -{\bfi m}{\it ultiplicity} -(number of flags or beams, default is 1, 0 is allowed), -{\tt s} for {\bf s}lur (joining all notes of the -grace to the main note; no other {\bf s} is needed on the main note), -{\tt x} for a slash (only for single graces), -{\tt l} or {\tt u} to force the direction of the stem(s), -{\tt X} followed by a decimal number {\it x} to insert a gap of {\it x} -notehead widths between a normal grace and its main note\NEW{2.6}, -{\tt A} (for -{\bf A}fter) or {\tt W} (for {\bf W}ay-after) to associate -the grace note with the {\it prior} note. Next comes the only -required character, the -first note name. No time value can be entered, but if needed, the -octave or an accidental can be given as in a normal note. Second and -later notes must follow immediately in sequence, set apart by spaces, likewise -without any time value, and without any intervening commands. - - Normal or after-graces will be placed {\it immediately} before or after -the main note; way-after's, as far to right as possible before the next note -or bar line. If either type of after-grace is slurred, the slur will start -on the main note and end on the last one in the grace. - - -\subsubsection{Ornaments} - - Commands for ornaments are entered {\it after} their associated -note command. The ornaments now available are shake ({\tt ot}), {\bf m}ordent -({\tt om}), ``x"- or ``+"-shaped ornament symbols ({\tt ox, o+}), pizzicato -({\tt ou}), strong {\bf p}izzicato ({\tt op}), left parenthesis before -\NEW{1.4} -notehead ({\tt o(}), right parenthesis after notehead ({\tt o)}), -upper {\bf f}ermata ({\tt of}), {\bf d}own {\bf f}ermata ({\tt ofd}), -staccato ({\tt o.}), tenuto ({\tt o\_}), se{\bf g}no -({\tt og}), arbitrary-length wavy-line {\bf t}rill with {\it tr} ({\tt oT}), -arbitrary-length wavy-line -trill without {\it tr} ({\tt oTt}), sforzando ({\tt o>}), -duncecap ({\tt o}\hbox to 6pt{\tt\^~}), \NEW{2.4}{\bf c}aesura ({\tt oc}), and -{\bf b}reath ({\tt ob}). -All except the parentheses, staccato, -tenuto, and down fermata will normally -appear above the staff; the parentheses appear at the level of the note -head, and staccato and tenuto just above or below depending on the -stem direction. The only difference between staccato and -pizzicato is the vertical positioning of the dot. - -The trill and segno command may have additional optional -characters. Either trill command may include a decimal number -to specify the length of the printed symbol in current \bs{\tt noteskip}s; the -default is 1. Thus {\tt oT0} represents {\it tr} with no wavy line. -A segno can only appear in the first (lowest) staff. It -may be immediately followed by a positive or negative -integer, which indicates a number of points that it will be offset -horizontally; and it will appear above every system. - - Once the ornament type has been specified, most of them can be raised -or lowered from their default position by appending -a signed integer to the command, representing the vertical offset -in \bs{\tt internote}s. \NEW{2.4}Caesura and breath may have in addition a signed -number giving horizontal shift from default in notehead widths. These two -ornaments also differ from the others in their default horizontal position, -which is 0.5\bs{\tt noteskip} past the note. - - An ornament can be automatically repeated on a series of consecutive notes, -provided the notes are all in the same voice and the same input block. -To activate this feature, terminate -the first ornament command with~{\tt:}~. Then every note in that voice will -have the same ornament until a note is followed by the repeat terminator -{\tt o:} . - -\subsubsection{Editorial accidentals} - - To place a small sharp, flat, natural, or question mark above the staff, -after the affected note enter {\tt oe} followed by {\tt s, f, n} or {\tt ?}. -\NEW{2.2} You may also put a question mark right after the accidental. - -\subsubsection{Slurs} \label{slurs} - - By default \PMX will use \MusiXTeX's built-in font-based slurs. -But through user intervention it is possible to use either one of -\NEW{2.4}two different types of postscript slurs. {\it Type K} slurs, -developed by Stanislav Kneifl, are directly supported by \PMX and will -be the focus of any future \PMX enhancements. -They are activated and several global -defaults set with options to the {\tt A} command as described in -section~\ref{ApDirective}. If these are used, so will an alternate -set of hairpins (see section~\ref{dynamics}). -The other postscript slur option is Hiroaki Morimoto's {\it Type M} slurs. -These -are not directly supported by \PMXX, but are supposed to be fully -compatible with the default font-based slurs. To use them, one would -use the in-line \TeX~command \bs\bs{\tt input musixpss}\bs~, and be sure -{\it not} to enter {\tt Ap} . From \PMXX's standpoint they are no different -from font-based slurs. - -There are some advanced options available only -with Type K postscript slurs, and a few obsolete ones only with font-based. -At this point the main -difference in functionality between the two is that with postscript, \PMX -provides support for -true ties, which are shaped and positioned slightly differently from -slurs. Future enhancements -will probably only work with Type K postscript slurs. Some users do still -prefer -font-based, possibly because Type K postscript slurs are not visible in some -DVI viewers. -New users should experiment with the various types of slurs and decide for -themselves. - - The normal commands for slurs are {\tt (} placed with a space -before a note, and {\tt )} placed after. The command {\tt s} is equivalent to -{\it both} of them (!), except that it always follows the affected note. -With font-based slurs, {\tt t} is equivalent to {\tt s} but -with several minor differences to be explained later. With postscript slurs, -{\tt t} signals to use a true tie. -The commands {\tt s} and {\tt t} are {\it toggles}, turning -a slur or tie off if it's already on and starting one otherwise. - -A \NEW{2.5} slur or tie may end on a rest, but not start on one. The default -ending height in this case will be the same as the starting height, and it -may be tweaked as described below. - - The first character is optionally followed by -a single-character ID code ({\tt 0-9} or {\tt A-Z} , then by other -options described below. ID codes are only needed if two or more slurs are -open at the same time within one voice, such as when several chord -notes are tied. Using ID codes in such cases tells \PMX which open slur to -close. ID codes cannot be used with font-based {\tt t} slurs. - -The rules for finding the default direction and position of the a slur -are complex; many factors enter into defining visually pleasing values. But -there's no need for gory details here; the result will usually satisfy, and if -not, all can easily be tweaked. Default direction can be -overridden with {\tt u} ({\bf u}pper), {\tt l} ({\bf l}ower), -or equivalently {\tt d} ({\bf d}own). -Starting or ending position can be shifted from its default by -entering one or two explicitly signed numbers. The first, which must be -an integer, represents the vertical shift in \bs{\tt internote}s; the second, -which may be decimal, the horizontal offset in notehead widths. - -The shape of the slur may be altered as well\NEW{2.1}. This paragraph -deals with font-based slurs, for which the shapes may be less -than fully satisfying due to fundamental limitations of \MusiXTeX. -At the slur termination only, one or three -more parameters may follow the two just described. The first, a signed, -nonzero -integer, is a vertical adjustment to the mid-height of the slur in -\bs{\tt internote}s. The next two, integers between 1 and 7 following a -``{\tt :}", are alterations to the starting and ending slopes. -These numbers are -passed directly as arguments of the \MusiXTeX{} macros \bs{\tt midslur} -(if only -one is given) or \bs{\tt curve} (if there are three). - -For \NEW{2.4}Type-K slurs, -the shape may be changed locally by including {\tt f} in either the -slur's starting or ending command to flatten it a bit, or {\tt h}, -{\tt H}, or {\tt HH} to -increase its curvature and raise or lower its middle by increasing degrees. -The default \NEW{2.5}curvature can be altered from normal -with new suboptions -to {\tt Ap} as described in section~\ref{ApDirective}. Local -curvature tweaks will take precedence over the global default. A special -option {\tt n} to the slur command can be used to locally restore the normal -curvature if the default curvature has been globally changed. - -Another option peculiar to Type-K slurs and ties is to locally -override the global -setting for automatic height adjustment (to avoid tangencies with staff -lines). The global defaults may be changed with the {\tt A} command as -described in section~\ref{ApDirective}. To -override the global setting for the current slur or tie only, use -the option {\tt p} in the command that starts the slur or tie, -followed by {\tt +} or {\tt -} (to turn adjustment -on or off), followed by {\tt s} or {\tt t} (for slur or tie). - -A dotted \NEW{1.41} slur is activated by including the option {\tt b} (for -{\bf b}roken) in the command that starts the slur. - -Slurs involving grace notes are specified within the command for the grace -(see section~\ref{graces}). - -For font-based slurs, the unique aspect of {\tt t} slurs is that if one -starts or ends on the same -note as an {\tt s} slur, the former will be moved away from the notehead to -avoid a collision. {\it This only works if neither slur has an ID code.} -This feature is only retained for backward compatibility. - -The available options should cover most circumstances, but if not, -the \TeX\ macros \bs{\tt isu} etc, defined in {\tt pmx.tex}, can be entered -as in-line \TeX\ commands (see section~\ref{LitTeX}). -These commands have three arguments: -slur number, vertical position (pitch, or offset from bottom staff line in -\bs{\tt internote}s), and horizontal offset in -notehead widths. When using these commands, you must choose an explicit -slur number. Use one large enough to avoid -conflicts with \PMXX 's automatic slurs, which are numbered from \NEW{2.4} -0 upward. -Also, remember that non-spacing in-line \TeX\ commands such as this one must -come {\it before} the note they apply to, in contrast with the \PMX -slur toggles which may come after. - -\subsubsection{Ties} - -With font-based slurs, in \PMX the only difference between ties and slurs -is the default positioning. -Ordinary slur ends are centered horizontally above or below the notehead, -while tie ends are shifted inboard and closer to the midheight of the -notehead. To specify a font-based tie in \PMXX, use a slur command and -include the option {\tt t} -in it, somewhere after the initial {\tt ( , ) , s } or {\tt t} . - -\NEW{2.4} With postscript slurs, ties---indicated with {\tt t} or -{\tt st}---will have similar differences -in endpoint positions, -but in addition will have a different shape (somewhat flatter) and will -always end at the same height they start. There is also an option to the -{\tt A} command that affects ties across line breaks -(see section~\ref{ApDirective}). By default the -second part of such ties will be drawn as a complete tie symbol. However, -if you want them to be a {\it half tie}---a special shape that is horizontal -at its left end---use the command {\tt Ap+h} at the start of the file. - -In addition to the notation options just mentioned, ties may also be -indicated with the character {\tt\{} before the starting note and {\tt\}} after -the ending note\NEW{2.6}. - -\subsubsection{Line-breaking Type K slurs and ties} \NEW{2.5} \label{lbslurs} - -No special action is required if a slur or tie happens to cross a line break. -However, some special, manual adjustments are available for Type K postscript -slurs in these cases. The global option {\tt Apl} by itself adjusts several -parameters as described in section~\ref{ApDirective}. Further, if {\tt Apl} -has been issued, -then case-by-case adjustments for line-breaking Type K slurs and ties are -available as suboptions to the -slur commands. To tweak the horizontal and vertical positions of the end of -the first segment, enter the suboption {\tt s} in the command that starts -the line-breaking slur or tie, followed by two signed numbers representing -respectively the vertical shift -in \bs{\tt internote}s and the the horizontal shift in notehead widths. To -tweak the position of the start of the second segment, follow the above by -another {\tt s} and two more signed numbers. The usual curvature options -{\tt h}, {\tt H}, {\tt HH}, and {\tt f}, if included in -the starting command for a line-breaking slur, will apply only to the first -segment, and if in the closing command, to the second segment. If the tweaked -slur or tie does not happen to come at a linebreak, -the special position tweaks (after {\tt s} ) will all be ignored, and the -curvature tweaks on the closing note will take precedence as they normally -would. - -\subsubsection{Dynamics} \label{dynamics} - -\NEW{2.3} -After the affected note, enter {\tt D} followed by one of the -following {\tt pppp, ppp, pp, p, ffff, fff, ff, f, mf, mp, fp, sfz, -"[{\it any text}]", >,} -or {\tt <} . The last two are diminuendo and crescendo, and they are toggles, -i.e., the first one of each starts the symbol and the next one ends it. -The one surrounded by double quotes is an arbitrary text string. -With any dynamic mark, you can also -enter position shifts, vertical as a signed integer representing -the number of {\tt \bs internote}s, then horizontal as a signed number representing -number of notehead widths. There can only be one of the letter-groups on each -note, but there may also be {\tt D<} and/or {\tt D>} on the same note. These must be -entered as separate {\tt D...} commands, and must come in the right order, e.g., - -\medskip -[{\it some notes}] {\tt D<} [{\it more notes}] {\tt D< Dffff D>} -[{\it more notes}] {\tt D>} -\medskip - -Hairpins must be contained completely within the same input block. - -There are numerous context-sensistive automagic adjustments to the positions -of all the dynamic symbols. If you don't like the result you can adjust the -position as just described. - -Due to \MusiXTeX's limitations, -there are some restrictions on hairpins when using font-based slurs. -They cannot be longer than 68mm, they cannot wrap over a system break, and they -must be horizontal. Finally, -only certain specific lengths are available so some horizontal position -tweaking may be needed, especially when letter-groups and -hairpins are combined. -These restrictions are all removed when using postscript slurs. - -\subsubsection{Beams} \label{beams} - - For the most part, \PMX automatically takes care of the details of -defining beams: selecting which notes are beamed together, and setting -the angle, direction, height, and {\it multiplicity} (the number of bars -along the top or bottom). However, one may define a {\it forced} -beam---which overrides \PMXX 's selection of which notes are beamed -together---by -surrounding the included notes with {\tt [} and {\tt ]}, being certain to -separate these commands and their options from the included note commands with -spaces. One may also wish to edit certain features of a beam even when -\PMXX 's grouping decision -would otherwise be acceptable; here again the beamed notes must be set -apart with {\tt [} and {\tt ]}. - -The {\tt [} may optionally be followed -immediately by several options. - -{\tt u} or {\tt l} will override -\PMXX 's selection of the direction of the beam, while {\tt f} will -{\bf f}lip it from whatever \PMX decided. - -{\tt j} {\bf j}oins the beam -grouping to a prior one started in another system (see below). - -One, two, or three consecutive integers, each preceded with {\tt +} -or {\tt -} , will affect the beam's appearance. The first integer is -an adjustment to the starting level (in \bs{\tt internote}s) and may range -from -30 to 30; the second is a slope adjustment with the same -permissible range; the third is an alternate adjustment to the -starting level (in beam thicknesses) and may only range from 1 to 3, -always acting to increase the stem length. The latter may be used to -align consecutive horizontal beams which have internal multiplicity -changes. For example, in 2/4 time, {\tt c84~c1~c~c~c~c8} would cause two -beams but the -first one would be lower than the second; {\tt [+0+0+1~c84~c1~c~]~c~c~c8} -would align the tops of the beams with each other. Due to the -complexity of \PMXX 's beam analysis procedures, these editing commands -may sometimes produce unexpected results, and some iteration may be -required to get exactly what you want. For example, -{\tt [+0+0+3~cd8~c3~c6~c~]~c~c~c3~cd8} -will not produce two aligned beams as desired, because -when \PMX analyzes the first beam, it automatically raises the starting -level a bit for another reason, namely, to avoid too short a stem on -the 64th notes at the end of that beam. In this case, -the user could counteract \PMXX 's internal adjustment by using -{\tt [-1+0+3~cd8~c3~c6~c~]~c~c~c3~cd8}. - -The character {\tt m} followed by a digit 1-4 forces the {\bf m}ultiplicity -of the -beam, the number of stem-joining bars. - -The option {\tt h} forces the beam to be {\bf h}orizontal. - - By default, xtuplets are set apart with their own beam. To beam -an xtuplet together with other non-xtuplets, just include it with the -other notes in a forced beam. - - Rests may also be included within forced beams, provided they are -shorter than quarter rests, and of course that they come {\it between} the first -and last notes under the beam. - -It's \NEW{2.5} now easy to define a repeating forced beam pattern. -If the option {\tt :}~(colon) is included in the starting command {\tt [}~for -a forced beam, then henceforth beams of the same duration will be forced in -that voice, until stopped. They will be stopped at either the next regular -forced beam, or the end of the input block for that voice, whichever comes -first. - - Some users may wish to define beamed groupings with subgroups -joined by a single beam. The command {\tt ][}, standing alone between two -note commands in a forced beam, causes the multiplicity to decrease to -unity and immediately increase to its natural value for the next note. -For example, {\tt [~c14~c~c~c~][~c~c~c~c~]} will generate two doubly-beamed -groups connected by a single beam. - -Related \NEW{2.3} to this is a {\it single-slope beam group}, which is the -same as described -in the previous paragraph except that the beam disappears between segments. -Segments should be separated by {\tt ]-[} standing alone between two notes -inside the forced beam. - - If there are large jumps in pitch between notes in a beam within -a single staff, as a matter of taste you may wish -to start the beam for example as an upper one and end it as a -lower. \PMX will never do this automatically, but you can accomplish -it by forcing the beam with appropriately modified up/down-ness, starting level, -and slope. If you use this technique, there are two details to note: (1)~if -there are any intermediate multiplicity changes, they will only be handled -properly if the initially specified up-down-ness is consistent with the -vertical position -of the intermediate notes involved, and (2)~for proper appearance in crowded -scores you may wish -to insert hardspace or shifts as described in -section~\ref{hardspace}. Some examples are included in {\tt most.pmx}. - - Beams cannot normally jump staves. But if that is desired, start -the beam normally in one staff, and terminate the part of the beam in that -staff with {\tt ...~]j} . Then resume the beam in the new, adjacent staff with -{\tt [j~...} . For staff-jumping beams, it's OK to have just a single note -inside one or both of the members. Some adjustment of the beam height and -slope may be required. Sometimes the ending section's up-downness must be -overridden; you will know this is so if the ending is shifted horizontally -from its proper position. Each voice must still have the right number -of beats, so you will probably need to fill time with blank rests after the -first member of the beam and before the second. -In \NEW{2.1} version 2.1 we have removed certain restrictions on the -multiplicity and jump direction for staff-jumping beams. However, there can -still only be one staff-jumping beam open at a time. - -\subsubsection{Clefs} - - A clef change is signaled by {\tt C} followed by a single lower-case -letter using the code specified in -section~\ref{ClefCodes}. Numbers may also be used as -defined in the \MusiXTeX{} documentation. If clefs come out at the wrong -vertical position, refer to the note in {\tt pmx.tex}. - -\subsubsection{Arpeggios} - -To set an arpeggio (a vertical wavy line), simply place the command {\tt ?} -after the commands for both the first and last note. To shift the symbol to -the left by {\it x} notehead widths, use the option {\tt -}[{\it x}]\NEW{2.6} . - -\subsection{Commands That Affect All Voices} \label{pmxcmds} - - Most commands that affect all the voices can only appear in the first -(lowest) voice in the first (lowest) staff. Most such commands will -automatically be -transferred from score to parts when separate parts are generated by -{\bfx scor2prt} (see section~\ref{scor2prt}). - -\subsubsection{Repeats, double bars, forced single bars} - - Repeat signs, double bars, and other bar-ending options are signaled -by {\tt R} followed by -{\tt l, r, lr, d, D, dl, b} or {\tt z} for -{\bf l}eft repeat, {\bf r}ight repeat, {\bf l}eft-{\bf r}ight repeat, -thin-thin {\bf d}ouble -bar, thin-thick {\bf D}ouble bar, thin-thin {\bf d}ouble bar followed by -{\bf l}eft repeat, single {\bf b}ar, or blank (invisible) barline\NEW{2.4}. -Some of these have peculiarities. -{\tt Rb} forces a single bar before a movement break (see section~\ref{movbrk}), -where otherwise by default there is a double bar. That can be useful for -example if you -change the number of instruments (via an option in the movement-break command) -in the middle of a movement. {\tt Rz} will cause a blank barline at the end -of the current system, not necessarily the current bar. It can be used -together with blind meter changes if you want to split a bar across a -system break. -If {\tt Rlr} falls at a system break, \PMX will automatically split it in -two. The command {\tt Rdl} will likewise be split at a system break, but if -not at a system break, the {\tt d} will be ignored. - -These commands must be in the -first voice. It is best only to place them before the first note in an -input block or if necessary after the last one; otherwise {\bfx scor2prt} -may behave erratically. -Using two separate {\tt R} commands in succession will cause -unpredictable results. - - -\subsubsection{Voltas (first and second endings)} - - Beginnings and ends of first and second endings are signaled by -{\tt V} (for {\bfi v}{\it olta}). -If it's the {\it end} of the volta, enter {\tt b} (for -{\bfi b}{\it ox}) or {\tt x} for {\it no bo}{\bfi x}. -If it's the {\it start} of a volta, you can -optionally enter any text at all that doesn't include a space and doesn't -start with {\tt b} or {\tt x} (most -commonly {\tt 1} or {\tt 2}). A period will automatically be -appended to the text. If one volta ends and another starts right -away, only a single {\tt V} is needed. Voltas must only be entered in the -first voice. If separate parts are to be created from a score using -{\bfx scor2prt}, then only a single volta may appear in any given input -block, and it must be at the beginning of the block. - -\subsubsection{Meter changes}\label{MeterChange} - - Meter can only be changed at the beginning of an input block. -A {\bfi m}{\it eter change} command starts with the letter {\tt m}. -There are two different ways to complete the command. - -{\bfx Method 1.} Enter 4 numbers -with no intervening spaces. The four numbers are {\tt mtrnuml}, -{\tt mtrdenl}, {\tt mtrnmp}, {\tt mtrdnp} as defined in section~\ref{setupdata}, -with the following exceptions for this method only: -You must use {\tt o} to represent -the number 1; if you enter the digit {\tt 1} then \PMX will interpret that -digit and the next as a 2-digit integer, between 10 and 19 inclusive. -19 is the largest number that can be entered with this method. Note that -{\tt mtrdenl=0} still represents a whole note. - -{\bfx Method 2.} \NEW{1.4} Enter the four numbers verbatim in the order just -listed, but separate them with slashes ({\it /}). - -\subsubsection{Transposition and key changes} - - To transpose an entire score, at the beginning of the first block -enter {\tt K} (for {\bfi K}{\it ey}) followed by two explicitly signed digits. -The -first is the distance to transpose (in \bs{\tt internote}s); the second is the -new key signature. -When transposing, you should always use relative -accidentals, activated by the separate command {\tt Ar} at the start of the first -input block (see section~\ref{ArDirective}). For -example, to transpose a piece in C major to E major you would enter -{\tt Ar K+2+4} at the beginning of the first block. - -To \NEW{2.4}transpose by a half step to a key with the same -letter name, use {\tt K-0+[{\it n}]}~. -(Using {\tt -0} instead of {\tt +0} eliminates confusion with a simple key -change, see the next paragraph.) - - A key change can be signalled at any time in the first voice, and will -affect all staves. Use the command {\tt K} with {\tt +0} as the first -argument and the new key signature as the second. - -\subsubsection{Text} - - The commands {\tt h} or {\tt l}, when placed in the first -column of an input line and followed by a blank or, for {\tt h} only, by -a signed integer, -stand for {\bfi h}{\it eader} and {\bfi l}{\it ower text}. They will put a -text string -above or below the {\it top} staff in the {\it first} bar of the block where -they are entered. The text string must be on a line of its own, -immediately following the command. The integer is a vertical shift in -\bs{\tt internote}s. - - A {\it title block} with up to three elements can be defined at the -beginning of the first input block. {\tt Tt} signals that the text -{\it on the following line} is to be set as a {\bf t}itle for the whole piece, -and it will be centered. {\tt Tc} similarly indicates a {\bf c}omposer's name, -to be set below the title and right justified. {\tt Ti} likewise stands for -an {\bf i}nstrument name, which will be set above the title, left-justified. -The text for any of these commands can be split over two or more lines -by including \bs\bs~at the location of the line break. - -{\tt Ti} will automatically be invoked by {\bfx scor2prt} when it generates -parts from a score. - -Extra vertical space can be added between the title -block and the top system by appending to {\tt Tt} a one- or two-digit -number representing the space in \bs{\tt internote}s. This only works if -{\tt Tt} is the {\it final} title block element entered. - -The {\tt D} command can be used to enter arbitrary text as described in -section~\ref{dynamics}. - -\subsubsection{Page numbering, centered header text} - - If you want pages to be numbered at the top left or right, place -the command {\tt P} anywhere within the \PMX code that represents the first -page to be numbered (usually the first or second). -{\tt P} can be followed optionally by the starting -page number and/or by {\tt l} or {\tt r}, the latter overriding the default -locations of odds on the right and evens on the left. \NEW{2.0} -There is also a special option {\tt c} for {\bf c}entered header text. -It must be the {\it last} -option in the {\tt P} command. It will define text to be printed at the top of -every page {\it after the first}. If a blank follows {\tt c}, the default -header text will -be the instrument name entered with the command {\tt Ti} . If any non-blank -character except {\tt "} follows {\tt c}, the header text will start with that -character and end at the next blank. If {\tt "} follows {\tt c}, the -header text will be everything between that and the next {\tt "} (this -permits headers containing spaces). The {\tt P} command and its options -will be ignored when making parts from a score (since page numbering -will usually be different in the score than in the parts), but page -numbering (and centered headers) for parts can be still be initiated -independently, for example with {\tt \%!P2} or {\tt \%1P2r} (see -section~\ref{scor2prt}). - -\subsubsection{Overriding certain defaults, or getting the most from \PMXX} - -Understanding this section is important if you want to get the most out -of \PMXX. In many -cases the switches described here represent subtle but significant -improvements that have come along since \PMX was initially developed. Rather -than changing the defaults, they are treated as optional in order not to -upset the layout of older scores. For example, virtually every new score I -create begins with at least {\tt Abple}. - -As you may have guessed, it is the command {\tt A} that can be used to -override a grab-bag of default settings. The available options affect sizes -and interpretation of accidentals, -dot positions, space before the first note of every bar, space between staves, -slur package selection, vertical positioning of Type K postscript -slurs, line-breaking Type-K slurs, curvature of Type-K slurs, -naming of parts, vertical positioning of rests in 2-voice staves\NEW{2.6}, -brackets for non-beamed xtuplets, and inputting so-called -{\it normal include} files. - -{\tt b} makes all accidentals -{\bf b}ig, {\tt s} makes them all {\bf s}mall. By default, big ones are used -unless unaltered spacing doesn't provide enough space. Thus the default -behavior may cause a mixture of big and small accidentals, and in fact is not -recommended. - -\label{ArDirective} -If transposing, then the {\bf r}elative accidental convention should be used, -indicated by {\tt r}. The default is the normal, absolute convention. - -If there are staves with two voices, {\tt d} causes dots in the -lower one to appear on or {\it below} center, in contrast with the default. - -Use {\tt a} followed by a -decimal number to override the default setting for \bs{\tt afterruleskip}, -the space before the first note in a bar. The default in \PMX is -{\tt 1}\bs{\tt elemskip}, 20 percent smaller than \MusiXTeX{}'s. - -If \PMXX's vertical spacing between staves within a system is not pleasing, use {\tt I} or -{\tt i} , followed by a decimal number, to apply a scale factor to -\bs{\tt interstaff} . {\tt I} -affects all pages, {\tt i} only the current one. Shrinking the space between -staves within each system will cause the space between systems to increase, and -conversely. These options have no effect if there is only one staff per system. - -\label{AeDirective}\MusiXTeX~normally draws a virtual box around each system -and inserts equal vertical space between boxes. \NEW{2.3} -When objects protrude above the top staff in a system or -below the bottom one, this can lead to unequal spacing between the top staff -line in one system and the next. If you prefer that the vertical spacing -between the staves of consecutive systems be constant for the whole page, -use the {\tt e} option of the {\tt A} command. One side benefit of {\tt Ae} -is that it will prevent systems from spilling over onto extra pages, -regardless of how many systems are put on the page. When using this option, -you may occasionally want to force more vertical space between certain systems. -There is a \TeX~macro -{\tt \bs spread} that can be inserted anywhere in the system before the -desired wider gap. It has one argument, the desired extra space in -{\tt\bs internote}s. - -Another \NEW{2.4}\ command affecting vertical spacing is the {\tt v} -option of the {\tt A} command (for -{\bf v}shrink or {\bf v}ertical shrinkage). \PMX normally spreads staves -vertically over a full page, unless the white space becomes excessive, -in which case it groups all staves near the top of the page. Entering -{\tt Av} will suppress this grouping near the top, and ensure that -systems will always be spread vertically regardless of how much white -space is left. It is a toggle; the second time it is issued, the -behavior reverts to the default. - -In \PMX it's not yet possible to specify a smaller font for selected staves. -But it can be done with the \TeX~command -{\tt \bs setsize}{\it n}{\tt \bs smallvalue} (using in-line \TeX, see -\NEW{2.3} -section~\ref{LitTeX}). If you do this, then you ought to -use the {\tt S} option to the {\tt A} command. It is followed by exactly -{\tt nv} -characters which are either {\tt -} or {\tt 0} depending on whether the -corresponding staff is normal or small. This alerts \PMX to modify some -horizontal spacing decisions to account for the smaller font size. - -The \label{ApDirective}\NEW{2.4} command {\tt Ap} activates Type K -{\bf p}ostscript slurs. To use this -you must have {\tt musixps.tex} somewhere that \TeX~can find it, and -{\tt psslurs.pro} somewhere that {\bfx dvips} can find it. These files are -available from the -\href{http://Icking-Music-Archive.org}{\underline{Icking Music Archive}}. -Several suboptions affecting Type K -postscript slurs are described in the remainder of this subsection. First, -by default these slurs and ties will not have their vertical positioning tweaked -to avoid tangencies with staff lines. To activate this type of adjustment, -use one of the suboptions {\tt +s} or {\tt +t} for -slurs or ties respectively. -(For example, {\tt Ap+s}). Be -warned that this may alter the endpoint positions from what one would normally -expect. To deactivate the adjustment, use the same command but with {\tt -} . -A third suboption of {\tt Ap} affects line-breaking slurs. Normally a full tie -is drawn at the start of the second line. -However, the suboption {\tt Ap+h} causes the use of -{\it{\bfi h}alfties} for the second part, which are flattened at their -left-hand end, and require the -special font {\tt mxsk} provided with the Type K postscript slur distribution. -It may be cancelled with {\tt Ap-h} . - -The \NEW{2.5} suboption {\tt l} (e.g. {\tt Apl}~) activates some other tweaks -and tweaking capabilities for line-breaking Type K slurs and ties. It -automatically tweaks the -horizontal positions of the end point of the first segment and the start of the -second, uses a normal tie character for both segments of a tie, and enables -further tweaking of the horizontal and vertical positions of internal endpoints -on a case-by-case basis, using options in the initial slur or tie command (see -section~\ref{lbslurs}). - -Another pair of \NEW{2.5}suboptions to {\tt Ap} affects the default curvature of -Type-K postscript slurs. {\tt Ap+c} and {\tt Ap-c} will respectively increase or -decrease the default curvature of all slurs to the next level in the sequence -{\tt f, n, h, H, HH} . (Here {\tt n} stands for {\bf n}ormal.) Several levels -may be traversed by repeating the suboption, e.g., {\tt Ap+c+c} increases the -default curvature by two levels. If you try to -go outside the allowable range, a warning will be issued, the curvature will be -set to -{\tt f} or {\tt HH} , and processing will continue. See section~\ref{slurs} for -further details. - -If \NEW{2.5} your score contains Type K slurs and if you use a program such as -{\bf dviselec} to extract single pages -from a {\tt .dvi} file, you should use the suboption {\tt h} (e.g. -{\tt Aph}~) . This will cause the header file {\tt psslurs.pro} to be written -into the postscript file at the top of of every page. - -The\NEW{2.6} option {\tt AK} activates special rules for vertical positioning of rests in -two-voice staves. By way of background, without this option, rests in two-voice -staves have default positions based on a simple rule that is not -context-sensitive: those in the lower voice (the one before {\tt//}) are -4\bs{\tt internote}s below their single-voice default positions, and those in -the upper line are 2\bs{\tt internote}s above the single-voice default. In contrast, the -option {\tt AK} invokes a set of context-sensitive rules to set the default -position. The baseline rule is to align the rest in a horizontal line with the -next following note in the same bar. If there is no following note in the bar, -then it is aligned with the next prior note. If there are simulataneous rests -in both voices, the old rule is applied. When the {\tt AK} option is in force, -it only affects places where there are two voices in a staff. It may be toggled -on and off at the beginning of any input block, using just {\tt AK}. When the -option is in effect, any user-defined tweaks on the height of a rest will -supersede the option for that particular rest, i.e., the tweak will be applied -relative to the single-voice default position. When {\tt AK} is in effect, the -option {\tt L} in a rest command will cause the vertical position of that rest -to be based on the {\it preceding} note, rather than the following one as is -the default. - -The \label{ANDirective}\NEW{2.5}option {\tt N} to the {\tt A} command allows -you to specify -arbitrary names for the instrument of any or all part files generated by -{\bf scor2prt}. Follow it with the part number and the the new name in double -quotes. - -Non-beamed \label{ATDirective}\NEW{2.5}xtuplets will normally be printed with -a bracket above or below, and -a number above or below that. If you would like this number instead to be -positioned within a gap in the bracket itself, enter {\tt AT} .You must have -{\tt tuplet.tex} available to your \TeX~processor. The file can be found in -the Icking Archive. - -\PMX commands \NEW{2.5}in an external file can be included at the start of any input -block by designating the file as a {\it normal include} file, using the -command {\tt AR}[{\it filename}] . See section~\ref{ARDirective} for details. - -\subsubsection{Extra hardspace, horizontal shifts} \label{hardspace} - - Despite the author's best intentions to relieve you of the chore -of adjusting {\it any} horizontal spacing by hand, there may be some occasions -where you -will want to do it. A command starting with {\tt X} initiates one of two -types of horizontal adjustment: A {\it shift} moves one or more -characters but does not affect any other spacing anywhere; a -{\it hardspace} inserts a fixed amount of space at a particular time and -affects the horizontal positions of everything in all staves in the system. -If the command includes {\tt S}, it is a {\bfi s}{\it ingle} shift and affects -only the next note or rest. If it includes a {\tt :} it either starts or -terminates a {\it group} shift. -All {\tt X} commands except group shift terminations -must include a decimal number for the size of the offset in notehead widths. -If the number is immediately followed by -{\tt p}, then the number represents points, otherwise, notehead widths. -If there is no such number but there is a {\tt :} the command -signals a group shift termination. -Group-shift commands must occur in -start/terminate pairs, and group shifts cannot extend across a bar line. - -An {\tt X} command containing neither {\tt S} nor {\tt :} is -automatically a hardspace. - -Because horizontal spacing in parts will usually differ from that in the -score, by default the hardspace command will {\it not} be copied into parts -by {\bfx scor2prt}; however the shift commands will be copied. -These behaviors can be overridden using the methods to be described in -section~\ref{scor2prt}, Alternatively, \NEW{1.42} to help keep \PMX score -files neat -and readable, the character {\tt B} can be used within the {\tt X} command -to signify that it applies to {\bf b}oth score and part, or {\tt P} for -{\bf p}art only. - -\subsubsection{Minimum spacing between notes in crowded systems} - - \PMX does some special, complex analysis to adjust horizontal spacing -in crowded systems. By default, the minimum space between consecutive -noteheads is 0.3 notehead widths. If you want to change 0.3 to some -other fraction, enter {\tt W. }(decimal point is required) followed by -{\tt 1}-{\tt 9} to represent the number -of tenths of a notehead width to be used as the minimum spacing. - -\subsubsection{Page size} - - The default page size is 740 by 524 pt (10.3 by 7.3 in). To change -the height or width, use the special commands {\tt h}[{\it n}][{\it u}] or -{\tt w}[{\it n}][{\it u}] at -the beginning of the first input block. Here {\it n} is a decimal number -for the new dimension and {\it u} defines the units; {\tt i} for inches, {\tt m} for -millimeters, and {\tt p} or nothing for points. This command can be used -together with {\tt \%\%} or {\tt \%!} -(see section~\ref{scor2prt}) to give the parts made by -{\bfx scor2prt} different page sizes than the parent score. - -\subsubsection{Line, page, and movement breaks} \label{movbrk} - - It is possible to force line, page, or movement breaks anywhere. -For a line break, just enter {\tt L}[{\it n}] at -the start of an input block (in the first voice only), and the {\it n}-th -system will start there. To start page {\it m} at line {\it n}, enter -{\tt L}[{\it n}]{\tt P}[{\it m}]. You can't force a page break without -first forcing a line break. - - To force a movement break, you must first force a line break as above, -then enter {\tt M}. If a page break also occurs here, the {\tt P} must precede -the {\tt M}. Options following {\tt M} are {\tt +}[{\it integer}] to insert -vertical space in \bs{\tt internote}s before the break, -{\tt i}[{\it decimal number}] to reset the first-line indentation as a fraction -of the line width, and {\tt c}\NEW{1.41} to {\bf c}ontinue bar numbering rather -than resetting the bar number to 0. \NEW{1.4}Also, to change the {\bf n}umber -of instruments, -enter {\tt n}[{\it integer}], then the number of each instrument in their new -order, then a clef-designating character for each staff of each instrument. -(An instrument's number is simply its position in the original sequence.) -There can never be more than the original number of instruments. In this -instance, \NEW{2.5}two-digit instrument numbers must be preceded with -{\tt :} (colon). If you want to start with some number of instruments and -later increase it, you'll need to insert -a dummy page at the beginning with the full set of instruments, then start the -second page with a movement break and decrease the number there. - -Another\NEW{1.4} option after {\tt M} is {\tt r+} or {\tt r-}, which either -forces or -suppresses {\bf r}eprinting the instrument names. The default is to print -them if the number of instruments changes, but otherwise not. - - Immediately after a movement break, any desired meter changes, -key changes, or text can be entered in the normal way. - -\subsubsection{Fractional bars} - - Often if a piece starts with a pickup, the last bar may not be -complete. In such cases, it is usually possible to -place the last bar in an input block by itself, headed by a {\it blind} meter -change. -For example, if the meter had been 4/4 and there was a quarter note -pickup, leaving 3 beats in the last bar, the last bar might be coded -{\tt m3400 cd24 /}. - -\subsubsection{Stem direction of bass notes} - - By default \PMX makes stems go up for middle-line D's in bass -clef, but down for notes on the middle line of all other clefs. If -you want middle-line bass-clef notes also to have downward stems by default, -enter a {\tt B} near the beginning of the file. - -\subsection{Putting {\TeX} Commands into the {\PMX}File } \label{LitTeX} - - There are five ways to enter \TeX ~commands into the {\tt .pmx} file. -Four of -them are {\it in-line}, where the commands are entered directly; the fifth -is by way of an external file. - - The four categories of in-line \TeX~strings -differ mainly in where they will appear in the {\tt .tex} file. -(A \TeX\ {\it string} consists of a starting character, a sequence of -\TeX~commands, and a terminal character). -In the {\tt .pmx} file, -only type 4 \TeX~strings may wrap over line breaks. All in-line \TeX\ must -adhere to the 128-character limit per line, but each line can have more than -one \TeX\ command. -Type 1 begins with a single \bs\ and will appear in the {\tt .tex} file -right before the \TeX -~command for the next note or rest in the {\tt .pmx} file. Starting with -version 2.1, \NEW{2.1} multiple -type 1 strings associated with the same note or rest are allowed, although -the total length may not exceed 128 characters (so there is generally no -reason not to combine all \TeX\ commands for a single note into a single -type 1 string). - -A type 2 string begins with \bs\bs\ -and will appear at the top of the {\tt .tex} file, right before -\bs{\tt startmuflex}, regardless of where it appears in the {\tt .pmx} file. -A type 3 string starts with \bs\bs\bs\ and will appear right before the -{\tt\bs xbar} -or {\tt \bs alaligne} at the beginning of the current input block, before the -first barline of the block. While individual type 2 and 3 strings may not wrap -over line breaks in the {\tt .pmx} file, strings of like type on consecutive -lines will appear together in the {\tt .tex} file. -Types 1, 2, and 3 strings must end with \bs\ (backslash-space). -This means that they may not contain -the \TeX\ macro \bs\ (backslash-space). Finally, each type 2 or 3 string -should be isolated on a line of its own, and should be started in column 1. - -Type four permits multiple -lines of arbitrary text to be entered at the top of the {\tt .pmx} file; -they will be transferred literally to the top of the {\tt .tex} file. Type -four is initiated with {\tt ---} alone as the top line of the {\tt .pmx} -file. Then follows any text on any number of lines, until the next line -starting with {\tt ---} terminates the block to be transferred. - -The only other distinction among the types of in-line \TeX\ strings arises when -{\bfx scor2prt} is used to make separate parts -(see section~\ref{scor2prt}): -types 2-4 will be copied into all parts, while type 1 only goes into its -original part. - -If you should want to enter a type-1 (note-based) string longer than -128 characters, you could use a series of type-2 or -3 strings to define -a \TeX\ macro containing the desired commands. - - \PMX provides one further option for entering an unlimited set of -\TeX ~commands -just before \bs{\tt startmuflex}, and before any Type 2 in-line \TeX ~strings. -Simply put the commands into a text file named [{\it basename}]{\tt .mod} -in the texinput directory. It will then automatically be -entered with an \bs{\tt input} command. This feature is retained mainly for -backward compatibility; it has been essentially replaced by the various options -for in-line \TeX ~strings. - -\subsection{Figured Bass} - - Figure commands are entered {\it after} their associated note commands. -They only work in the first (lowest) voice, and in any one other voice\NEW{2.6}. -Enter the characters as -they would appear from top to bottom, and as you might pronounce them, -e.g., {\tt 64} or {\tt 73}. Flats here are {\tt -} (minus), sharps are -{\tt \#}, and -naturals {\tt n}, {\it before} the number (if there is a number) (notice -the characters are different here than in notes). -So for example {\it sharp third} is {\tt \#3}, just a sharp is {\tt \#}, {\it six (over) -flat five} is {\tt 6-5}, and {\it sharp six (over) 4} is {\tt \#64}. -In addition to the symbols just described, the following special symbols -are available: {\specfig 2}, {\specfig 4}, {\specfig 5}, {\specfig 6}, {\specfig 9} . -\NEW{2.6}To use them, you must have the font -\href{http://www.icking-music-archive.org/software/musixtex/add-ons/figbas.zip}{\underline{\tt cmrj}} -in your \TeX~system, and then just put an {\tt s} after the number. - -The program -positions all the figures for each system below the lowest staff of that -system, with their tops aligned, and just low enough to clear the -lowest beam, notehead, or stem that could interfere. If you want a figure to -align horizontally in the second tier, insert the placeholder figure -{\tt\_} (underscore) before the one you want lowered. This is equivalent to -lowering the figure stack by 4 \bs{\tt internote}s. -\NEW{2.6}If you want to {\it raise} the entire stack by an integral number of -\bs{\tt internote}s, append {\tt +} and the number. This can be combined with -the placeholder figure {\tt\_} to provide full control over the vertical -position of the stack. - - Sometimes you may need to enter a figure when there's no bass -note sounding. To do this, just after the most recent bass note enter -{\tt x}, followed by a two single digits (the first is a repeat count; the -second a time value, i.e., {\tt 2,4,8,1,} or {\tt 3}), immediately followed by a figure symbol -as defined in the previous paragraph. This will -offset the figure from the associated note by the specified time -value. For example, if the lowest voice contained {\tt c03 x3465}, there -would be a whole-note c, and 3 quarter notes later a figure 65 below -the staff. - - There is also a {\it continuation} command, a zero followed immediately -by another \NEW{2.4} -unsigned number. This produces a horizontal line under the bass note, starting -just to the left and extending to the right by the given number of -\bs{\tt noteskip}s. The height and length of the line are set by the current -note's level and \bs{\tt noteskip} respectively. These \NEW{2.4} can be mixed in with -other figures to produce vertical stacks. If another figure follows in the -same command, use {\tt:} as a separator. -If \bs{\tt noteskip} changes or a note drops -below the starting level before the line ends, it is possible to trick -\PMX by entering separate {\tt 0}[{\it n}] commands under each consecutive note; \PMX -will automagically join them together at the same height -(thanks to Werner Icking for this idea). - - If there are figured bass commands in a {\tt .pmx} file but -you want them to be ignored, then enter the command {\tt F} at the -beginning of the body of the file. This feature would most often be -used in the form {\tt \%1F} -(see section~\ref{scor2prt}), which makes a -separate bass part with no figures. - - Figured bass commands will not be altered in any way under -transposition. There is no universal set of interpretations of figured bass -symbols, so no automatic transposition is possible. - -\subsection{Macros} - - A \PMX macro is a single command that stands literally for any -any string of characters that may occur in the input file (sorry, no -variables). It may be useful if you need to repeat the same string later. -There is no practical length limit. - -To -{\bfi r}{\it ecord} a macro, type {\tt MR}{\it n} where {\it n} is between -1 and 20. -Everything you then type will be processed normally as well as stored, -until you enter the command {\tt M}. The next time you need to enter the same -string, just type {\tt MP}{\it n} to {\bf p}lay back the macro. - -To just {\bf s}{\it ave} a macro without having \PMX process it as you -enter it, start it with {\tt MS}{\it n}. - -Macros can be redefined at will. \PMX will print a warning whenever this -occurs. - -If you use macros and want to make separate parts, some care is necessary. -{\bfx Scor2prt} will only transfer {\tt MR} macros into the part where they -originated, but will transfer {\tt MS} macros into all parts. - -\subsection{Include Files}\NEW{2.5}\label{ARDirective} -{\it Include} files are separate text files - containing arbitrary (but contextually appropriate) sequences of - valid \PMX commands. By using the techniques described in this section, - the commands in an include file can be inserted at any desired - place in the virtual \PMX file that the code processes. - They will always be syntax-checked. - -There are two types of include files, {\it global} and - {\it normal}. There can only be one global include file and it must be named - {\tt pmx.mod}. If activated, its contents will always be inserted right after - the setup data. - To activate it, two conditions must be met: (1) an environment variable - {\tt PMXMODDIR} must be defined to contain a valid path, ending with {\tt /} or - \bs~; (2) a file named {\tt pmx.mod} must be present in the directory so defined. - If {\tt PMXMODDIR} is not set, or if it is defined but there is no file - {\tt pmx.mod}, then processing will proceed as usual. - - Normal include files - can have any name and do not require any environment variable to be set. - They are activated by the PMX command {\tt AR[{\it filename}]} , placed in the - .pmx file - at the location where the included lines are to go. It will generally - only make sense to place this command at the beginning of an input block. - \PMX will first check - for the file as pointed to by [{\it filename}], which may contain a complete - or partial pathname preceding the actual file name. If [{\it filename}] is not - found, then \PMX will look for {\tt \%PMXMODDIR[{\it filename}]}, i.e., it will check - the directory defined by {\tt PMXMODDIR} if {\tt PMXMODDIR} has been set. However, - it is not necessary to define {\tt PMXMODDIR} to use a - normal include file. There may be any number of normal include files. The same - file may be used multiple times. Include files cannot contain references to - other include files via the {\tt AR} command; if you try to do that - your computer will - explode. The following information regarding all activated include - files will be printed both to the screen and to the .pml file: notice of - opening or closing, echo of the contents, error messages pertaining to syntax - errors in the included \PMX commands, and an error message if \PMX cannot find - a referenced normal include file. In the latter two cases \PMX will stop. - -\subsection{Batch Processing} - -Due \NEW{2.0} to the number of different programs that must be run in sequence -to produce a printed sheet of music with the \MusiXTeX{} system, most users -prefer to use a batch file to control the process. Since batch commands are -platform-dependent we will not provide examples here, but will mention -several \PMX features that can facilitate batch processing. - -First, whenever {\bfx pmxab} terminates due to a syntax -error, the exit code is set to 1. There are various ways of detecting this -with batch commands, then acting accordingly. -\NEW{1.4} Second, {\bfx pmxab} always writes a file -{\tt pmxaerr.dat} containing a single number: 0 if it exited normally, -otherwise the line number in the {\tt .pmx} file where the syntax -error was. With advanced batch programming techniques, this file can be -opened and read, and if there was an input error, a text editor can be -opened and the input point placed on the line with the error. - -There have been several requests to allow \PMX to keep running even -after it detects an input error. -This has not been done because in most cases, any error messages after -the first one would be meaningless, or worse, uncorrected errors could -cause crashes. In any event, all the output from {\bfx pmxab} will be -stored in the log file [{\it jobname}]{\tt.pml}. - -\subsection{Lyrics} - - \PMX has no special provisions for lyrics. One way to include them -is by using the macro package {\tt musixlyr.tex} developed -by Rainer Dunker. It introduces lyrics into \TeX\ more easily than with -\MusiXTeX's own facilities. The macros could be -entered as in-line \TeX\ directly into the {\tt .pmx} file, but most would -prefer the convenient interface to {\tt musixlyr} via the -program {\bfx M-Tx} developed by Dirk Laurie. It is a pre-preprocessor which -produces a {\tt .pmx} file containing the proper in-line \TeX\ commands. -Its input language is similar (but not identical) to \PMX and includes most -\PMX functionality as a subset. Both {\bfx M-Tx} and {\tt musixlyr.tex} are -available from the \IMA{}. - -%\setcounter{secnumdepth}1 -\section{Making Parts from a Score} \label{scor2prt} - - Separate parts can be made by running {\bfx scor2prt} and entering the -basename when prompted. The program will create {\tt noinst} separate -{\tt .pmx} files, one for each instrument. By default the files will be named -[{\it basename}][{\it n}]{\tt .pmx}, where [{\it n}] -is the sequential position of the instrument. If desired, part file names can -be customized with {\tt AN} as described in section~\ref{ANDirective}. - - In this section we describe how to control the layout of the -parts separately from that of the score, but by using commands -that are placed in the {\tt .pmx} file for the score. This eliminates the -need for ever editing the {\tt .pmx} files for the parts separately. You -can make all corrections in the file for the score, and then re-run -scor2prt. - - Normally all lines starting with {\tt \%} in the parent {\tt .pmx} are -transferred into all the parts. However, if a line has {\tt \%\%} in -columns 1-2, both it {\it and the following line} will be ignored when -making parts. If the ignored line contains only {\tt h}~, {\tt l}~, - {\tt Tc}~, {\tt Ti}~, or {\tt Tc} to start, -then one additional line will be ignored. - - Conversely, if a line begins with {\tt \%!} then it will be ignored as -usual in creating the parent {\tt .tex} file, but after stripping the first -2 characters the rest will be put in the {\tt .pmx} file for {\it all} the -parts. - -To enter a line into the score file that is only to be transferred to one part, -begin the line with \NEW{2.6} {\tt\%}{\it h}, where {\it h} is an {\it extended -hexadecimal digit} representing the part number from 1 to 24 -({\tt1,2,...,9,a,b,c,...,n,o}). The first -two characters will then be stripped and the rest transferred to the desired part. -For example, to force a line break to system 15 and a page -break to page 2 in part 11 only, enter {\tt \%bL15P2}. The use of the extended hex -digits {\tt a-o} creates a potential incompatibility with prior versions. -To minimize this, the -character after ``{\tt\%}" will {\it only} be interpreted as a part number if -it represents a number less than or equal to {\tt noinst}; otherwise the entire -line will be treated as an ordinary comment and transferred to all parts as -a comment. - - Although only permitted in the first voice in the score, the -following commands with all their options will automatically be copied -into all parts (unless the preceding line has {\tt \%\%}): - {\tt m, V, R, A, h, w, K}. Literal \TeX\ strings of types 2-4 will also be -copied into all parts, while type 1 will only go into its original part. - -User-defined hardspaces ({\tt X} without {\tt :}) are handled specially. By -default they are not copied into parts. There are two ways to circumvent this. -One way to insert hardspace {\it x} into part -{\it n} is to place in the score, on a line of its own, the command -{\tt\%}[{\it n}]{\tt X}[{\it x}] . The \NEW{1.42} other way is with options -in the {\tt X} command in the score: {\tt B} causes the hardspace to be -used in {\bf b}oth score and parts; {\tt P} puts it into the {\bf p}art but not -the score. - -Lateral shifts ({\tt X}[$\dots$]{\tt :}) will be handled normally, -staying with their original voice. - - By default the total number of systems in each part will be the -same as in the score. If you want to override this, there is a command -{\tt S}[{\it n}] (where {\it n} is the desired number of systems), which -can only appear at -the beginning of the first input block. This can be used after {\tt \%!} -to affect all the parts, or after {\tt \%}[{\it h}] to affect just part {\it h}. - {\bfx Scor2prt} will also -compute how many pages it thinks each part should have, and enter that -in the startup data for that part. If you wish to override that, then -in the {\tt .pmx} file for the score, insert for example {\tt \%3S14P2} to -force the third part to have 14 systems and 2 pages (you cannot override the -number of pages without first overriding the number of systems). - - A \NEW{2.0} musicsize of 20 is the default in all parts. This may be -overridden with the option {\tt m} in the command {\tt S}; e.g., -{\tt \%2S15m16} . - - As already noted, a {\tt P} command for page numbering in the parent -file is ignored when making parts. To initiate page numbering in the -parts, use for example {\tt \%!P} anywhere within the \PMX code representing -the first page of the parts (from \TeX 's standpoint the command must occur -between the beginning and end of the page on which the numbering is to begin). -It \NEW{2.0} will often be useful in this case to use the option {\tt c} , -which by default causes the instrument name to be centered in small type at -the top of every page after the first. - -Note the distinctions among the various usages of {\tt P}: as an option with -{\tt S}, it sets the total number of pages in a part; as an option with -{\tt L}, it forces a page break; and as a command on its own, it controls page -numbering and centered headings. - -MIDI \NEW{2.2} commands, i.e., those starting with {\tt I}, will never be -copied into parts, unless they are in a special comment line as just described. - - One function of {\bfx scor2prt} is to condense consecutive bars of rest -into a single group of special printed characters with a number above it. -The command {\tt rm} defines such a {\bf m}ulti-bar {\bf r}est as described -in section~\ref{MultibarRest}. -{\bfx Scor2prt} will automatically insert {\tt rm} commands into the -{\tt .pmx} files -for the parts where appropriate. However, for this feature to work, -the {\it first} full-bar rest in the sequence {\it must} have its duration -explicitly defined in the parent {\tt .pmx} file, either with a digit or -with {\tt p}. I.e., the feature will not work if the first rest in the -sequence inherits its duration from the previous note. - -Using the special \PMX commands listed in this section, -augmented where needed with literal \TeX ~commands, it is possible to store -{\it all} the information for both the score and the parts in a single -{\tt .pmx} file. This greatly simplifies the editing process, since -both the score and the part can be corrected at once, and parts need not be -re-edited each time they are regenerated from the score. - -\section{Making MIDI Files}\NEW{2.2} - -\PMX has an elementary capability to create MIDI files. It is intended mainly -to aid in editing scores, so it does not have advanced facilities one would -want for making musically satisfying sound files. - -As \NEW{2.6} of version 2.6, \PMX can only generate MIDI files for scores with -15 or fewer voices. - -Entering the command {\tt I} before any notes have been entered -will cause a MIDI file [{\it jobname}]{\tt.mid} to be -generated in the current directory. Options may follow, without spaces. They -are defined in the following paragraphs. Multiple -options can be combined in one {\tt I} command. -{\tt I} commands can appear later in the file as well, but only at the start -of an input block. Sometimes the order of the -options matters, determining for example whether or not a user-defined pause -is included inside a macro block. - -{\tt t}{\it x} sets the tempo to {\it x} quarter notes per minute. -Default is 96. You can change tempos as often as you like, but only at the -start of an input block (as with all MIDI commands). - -{\tt i}{\it i1i2...in} assigns MIDI instruments {\it i1,i2,...,in} to the -respective \PMX instruments. The default is harpsichord, of course. If -you use this option, you must specify {\it all} instruments. -Each {\it in} is either -a 2-letter abbreviation or an integer between 1 and 255. Acceptable -abbreviations are listed below. Numbers and pairs of letters may be mixed, -but consecutive pairs of numbers must be separated by {\tt :} (colon) . -This option can only be exercised once per file. -Also, the number of instruments cannot change during a piece. - -{\tt v}{\it i1}:{\it i2}:{\it...}:{\it in} assigns MIDI \NEW{2.3} velocities -to each instrument. The colons are required. Values may range from 1 to 127. -The default is 127. - -{\tt b}{\it i1}:{\it i2}:{\it...}:{\it in} assigns MIDI \NEW{2.3} balances to -each instrument. The colons are required. Values may range from 1 to 128. -The default value is 64, which represents the center. Smaller numbers favor -the left stereo channel; larger ones the right. - -{\tt M} initiates a macro operation. This is used for repeats, da capo's, etc. -Macros must have ID numbers between 1 and 20. Operations are start record -macro {\it i}: {\tt MR}{\it i} ; end recording: {\tt M} ; and playback (insert) -macro {\it i}: {\tt MP}{\it i} . Only one macro can be active at a time, -recording or playing but not both. If you try nesting or overlapping macros, -your computer will become psychotic. - -{\tt p}{\it x} inserts a pause of {\it x} quarter notes. Decimals are -allowed, but will be rounded to the nearest sixteenth note. - -{\tt g}{\it i} sets the MIDI gap to {\it i} MIDI clock tics. This is a silence -inserted at the end of every note, while decreasing the sounding duration -by the same amount. The default is 10, which is 2/3 of a 64th note. - -{\tt T} allows transposing any instrument by an integral number of octaves. -It must be followed by exactly {\tt noinst} signed integers, each of which -is an exact multiple of 12. - - The module does not recognize graces, ornaments, repeats, voltas, or -segnos. The only ties that are recognized are those using {\tt s} or {\tt (} -alone, with no explicit ID number. Key signatures, -time signatures (meter) and instrument names will be written into the MIDI file, -the latter as track names. This will have no effect whatsoever on audible -output but will affect on-screen appearance of some MIDI file players -and editors. Location of the \PMX key-change and meter-change commands -relative to MIDI macro delimiters in the source will affect (in the obvious -way) how these data are passed to such programs. - -The MIDI file generator does not yet support changing the number of -instruments in midstream. Doing so will cause unpredictable results. - - The instruments are a subset of ``The General MIDI Instrument -Specification." Of course how they sound depends on your hardware and software. -Instruments not listed below can still be used but must be specified by number. -The numbers listed here are from the 1-128 range; when passed to the MIDI file -they are reduced by one. - -%\def\toc#1#2{\hbox to 3.1in{{#2}\leaderfill{#1}}} -\def\tentry#1#2#3{\hbox to 2in{ -\hbox to .24in{\tt #1\hfill}\hbox to 1.7in{#2 (#3)\hfill}\hss}} - -\null -\hbox to 6.5in{\vbox to 1.7in{ -\tentry{pi}{Acoustic Grand Piano}{1} -\tentry{rh}{Rhodes Piano}{5} -\tentry{ha}{Harpsichord}{7} -\tentry{ct}{Clavinet}{8} -\tentry{ma}{Marimba}{13} -\tentry{or}{Church Organ}{20} -\tentry{gu}{Acoustic Nylon Guitar}{25} -\tentry{ab}{Acoustic Bass}{33} -\tentry{vl}{Violin}{41} -}\hss\vbox to 1.7in{ -\tentry{va}{Viola}{42} -\tentry{vc}{Cello}{43} -\tentry{cb}{Contrabass}{44} -\tentry{vo}{Synth Voice}{55} -\tentry{tr}{Trumpet}{57} -\tentry{tb}{Trombone}{58} -\tentry{tu}{Tuba}{59} -\tentry{fr}{French Horn}{61} -\tentry{so}{Soprano Sax}{65} -}\hss\vbox to 1.7in{ -\tentry{al}{Alto Sax}{66} -\tentry{te}{Tenor Sax}{67} -\tentry{bs}{Baritone Sax}{68} -\tentry{ob}{Oboe}{69} -\tentry{ba}{Bassoon}{71} -\tentry{cl}{Clarinet}{72} -\tentry{fl}{Flute}{74} -\tentry{re}{Recorder}{75} -}} - -\section{Limits} - -For simplicity in writing the program, \PMX has numerous variables with -fixed dimensions. In most cases there are no checks against these limits -(hey, I've got more important things to program), so -occasionally there may be hangups due to exceeding a dimension. -Any of these can potentially be increased by making a request via the -mailing list. However, before making such a -request, try working around the problem by -breaking the input into smaller blocks. - -\subsection{Limits on quantities that a user can control} - -(The user can control the {\it number} of these items, but cannot control -the {\it limit on the maximum number} of them.) - -%\ \ \ \ \ 128 characters per input line. -128 characters per input line. - -24 \NEW{2.6} staves. - -2 voices per staff. - -24 \NEW{2.6} voices per system. - -125 systems. - -600 bars. - -40 forced line breaks. - -10 forced page breaks. - -18 key changes. - -20 pages. - -600 \NEW{2.6} notes per input block. - -15 bars per input block. - -101 slurs per input block. - -74 figures (figured bass) per input block. - -37 grace note groups per input block. - -74 notes in grace note groups per input block. - -52 literal \TeX\ strings per input block. - -6 voltas per input block. - -24 \NEW{2.6} trills per input block. - -62 chordal notes (non-spacing) per input block. - -8 beams per voice per bar. - -40 \NEW{2.5}forced beams per voice per input block. - -10 clef changes per voice per input block. - -24 notes per beam. - -24 notes per xtuplet. - -41 text-dynamic strings per input block.\NEW{2.5} - - -\subsection{Limits not under immediate user control} - -% Need all the spaces because this damn format insists on left-justifying -% first line of *first* paragraph in a section.. -% -\ \ \ \ \ \kern-1pt2000 \bs{\tt notes} groups. - -20 \bs{\tt notes} groups per bar. - -20 inserted standard anti-collision spaces (not xtuplet or end-of-bar) per bar. - -20 inserted anti-collision spaces within xtuplets per bar. - -19 inserted anti-collision end-of-bar hardspaces per system. - -83 inserted anti-collision end-of-bar hardspaces. - -400 inserted standard anti-collision spaces per system. - -100 inserted anti-collision spaces within xtuplets per system. - -1000 inserted standard anti-collision spaces. - -200 inserted anti-collision spaces within xtuplets. - -24576 \NEW{2.2} bytes of MIDI output data per voice. - -\section{Closing Notes} - -\subsection{About the Example Files} - -{\tt most.pmx} contains examples of most of the \PMX commands, and a few -programming tricks, including examples in the last line of beam groups whose -notes vary widely in pitch. The printed -output displays the \PMX commands near to the resulting typeset characters. -It is more -useful to look at the printed output rather than the source file, since the -file is littered with in-line \TeX ~needed to output the text strings -representing the \PMX commands. -{\bfx WARNING:} Do not try to play this music; it could be hazardous. - -{\tt barsant.pmx} contains the first movement of a recorder sonata by the -Italian Francesco Barsanti (1690-1772). It demonstrates many of \PMXX 's -strong points in a ``battlefield'' situation: figured -bass, complex beaming patterns, xtuplets, and -automatically adjusted horizontal and vertical spacing in crowded scores. -In fact, -this single-page score is at the limit of vertical crowding. To get the -final result, it uses the -option {\tt Ae} for equal space betweem systems, and the space between systems -was increased ({\tt AI1.1}) from the default. This is a -good score to try making parts with {\bfx scor2prt}. A special command -{\tt \%2S9} is used to increase the number of systems in the recorder part. - -{\tt mwalmnd.pmx} is an Allemand for harpsichord by the German -Matthias Weckmann -(1616-1674). It uses many techniques peculiar to keyboard scores, most notably -two voices per staff. - -\subsection{A Benign Bug} - - When \TeX 'ing the output of \PMX you will usually get an {\tt Underfull -\bs vbox} message at the end of each page. This is due to my using -\bs{\tt eject} at the end of every page, which automatically spaces the -systems vertically without having to fiddle with \bs{\tt staffbotmarg}. As far -as I know, the -warning is benign, and may be ignored. - -\subsection{Where to Get {\PMX}} \label{where} - -The main home of \PMX on the internet is the software section of the -\IMA, specifically at -\href{http://icking-music-archive.org/software/indexmt6.html#pmx} -{\underline{\tt http://icking-music-archive.org/software/indexmt6.html\#pmx}} . -The \PMX distributions on this server are mirrored on the CTAN sites, -for example \href{http://www.ctan.org}{\underline{\tt http://www.ctan.org}}. -These sites also contain all the \TeX{} and \MusiXTeX{} files as well. - -\PMX is coded in FORTRAN and developed in a DOS/Windows environment. The basic -distribution will contain the FORTRAN source and DOS/Windows binary -(i.e., it runs in a DOS window, but some flavor of Windows must be -present). Users of other OS's have several options. They may compile the -original source if they have access to a compiler, or they may check the -archive for other distributions. The most recent -available versions for Linux, Unix, and Mac will be posted in the archive, but -as of this writing they are all out of date. New versions will be -posted when and if volunteers provide them. - -Most of the supporting software mentioned here---except \TeX{} itself---is -available -from the \IMA. This includes \MusiXTeX, Dirk Laurie's -lyrics pre-preprocessor {\bfx M-Tx}, and packages for both type K and type M -postscript slurs. - -\subsection{Acknowledgments} - - To Daniel Taupin, Ross Mitchell, and Andreas Egler for creating -\MusiXTeX{}; to Olivier Clary for suggesting a crucial modification in -the note-entry scheme; -to my colleague John DiPol (a non-musician!) for the idea of using binary masks -to define beam groupings; -to Joel Hunsberger for unraveling some deep \MusiXTeX~tangles; -to Dirk Laurie -for making \PMX accessible to vocal music by creating {\bfx M-Tx}; -to Stanislav Kneifl and Hiroaki Morimoto for developing the postscript -slur packages; to -Christian Mondrup, Andre Van Ryckeghem, Christof Biebricher, Joerg Anders, -Olivier Vogel, and other denizens of the TeX-music mailing list -for first-class bug-finding and support in responding to queries about -\PMX on the mailing list; and to Luigi Cataldi, Olivier Vogel, Christof -Biebricher, and Cornelius Noack for producing translated and enhanced -\PMX tutorials. -Finally, I want to mention again the invaluable contributions by -Werner Icking: his exhaustive beta testing, -uncanny bug-finding, continuing encouragement, and promotion -of \PMX right up until his sudden and premature departure from this -earthly realm. - -\end{document} diff --git a/Master/texmf-dist/doc/generic/pmx/pmx270.pdf b/Master/texmf-dist/doc/generic/pmx/pmx270.pdf new file mode 100644 index 00000000000..b99972ce5db Binary files /dev/null and b/Master/texmf-dist/doc/generic/pmx/pmx270.pdf differ diff --git a/Master/texmf-dist/doc/generic/pmx/pmx270.tex b/Master/texmf-dist/doc/generic/pmx/pmx270.tex new file mode 100644 index 00000000000..3f2f1162369 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pmx/pmx270.tex @@ -0,0 +1,2532 @@ +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +% +% pmx270.tex 19 Mar 2013 +% +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\documentclass[11pt]{article} +% +\let\reft\ref + \usepackage[dvips,colorlinks=true,linkcolor=blue]{hyperref} + \usepackage[dvips]{graphicx} + \usepackage{multicol} +% +\def\MusiXTeX{MusiX\TeX} +\def\bs{{\tt\char'134}} +\newcommand\PMXX{\textbf{PMX}} +\newcommand\PMX{\PMXX~} +\newcommand\IMA{\href{http://Icking-Music-Archive.org}{\underline{Icking Music Archive}}} +% +% Use \bfx for program names only. Use \bf for single embedded letters +% +\font\bfx=cmb10 scaled\magstephalf +\font\bfi=cmbxti10 scaled\magstephalf +\font\specfig=cmrj +\setcounter{secnumdepth}3 +\setcounter{tocdepth}3 +\def\Bslash{\tt\char'134} +\def\|{{\tt\char'174}} +\def\LBR{{\tt\char'173}} +\def\RBR{{\tt\char'175}} +\textheight= 9.5in \voffset-.8in% +\textwidth= 6.5in \hoffset-1.0in +\def\newfrom{2.59} % changed every now and then +\def\NEW#1{\ifdim#1 pt<\newfrom pt\else% +\marginpar{\fbox{#1}}\fi} + +\hoffset-54pt + +\let\rulet\rule\def\rule#1#2{\if#1<#2\rulet{.05in}{#2}\else\relet{#1}{.05in}\fi} + +\begin{document} + +\raggedright +\parindent24pt + +\title{ + \Huge\bf + PMX~--~a Preprocessor for \MusiXTeX{}\\ + \null\vskip-15pt + \Large\sl + Version 2.7~--~March 2013\\ + \author{\Large\rm Don \sc Simons\\ + \large\sl + Dr. Don's PC and Harpsichord Emporium\\ + \normalsize\sl + Redondo Beach, California, USA.\\ +% To make the bitmapped eps: (1) TeX file with cmtt scaled 2500, +% (2) dvips -> gsview -> pdf. +% (3) gwin32 -sDEVICE=pnggray -sOutputFile=file.png -r100 -dEPSCrop -dbatch -q +% -dNOPAUSE -dTextAlphaBits=4 file.eps -c quit +% (4) file.png -> GIMP (crop out blank space) -> save as .eps. + \includegraphics[scale=0.4]{file600.eps}}} +\date{} + +\maketitle + +\section*{Preface} +Compared to releases prior to version 2.60, \PMX has been expanded +to take advantage of the increased capacity of \MusiXTeX~T.115. To directly +process +\TeX~files created by \PMX2.60 or later, a decision was made to require both +\MusiXTeX~T.115 and e-\TeX. Free versions of both are readily available on the internet, +and together they can process any earlier \PMX source file. + +\setcounter{page}1 +\tableofcontents +%\setcounter{secnumdepth}1 +\pagestyle{headings} + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\def\boxitsep{10pt} +\let\hrt\hrule\def\hrule{\hrt height2pt} +\let\vrt\vrule\def\vrule{\vrt width2pt} +\def\boxit#1{\vbox{\hrule\hbox{\vrule\kern\boxitsep\vbox{% +\kern\boxitsep\hbox{#1}\kern\boxitsep}\kern\boxitsep\vrule}\hrule}} +\font\ded=cmssdc10 scaled \magstep3 +\bigskip +\setbox4=\vbox{ + \hsize3in\noindent\strut + \centerline{\ded Dedication} +\vskip 3pt +The \MusiXTeX~community was stunned by the sudden death of Werner Icking on +\break February 8, 2001. He had been a benevolent patriarch, touching many +of us not only +with his technical savvy and gentle guidance, but also his genuine kindness +and generosity. His spirit runs deep through all of \PMX. His encouragement +fueled its development from the very beginning up to its current state. Most +of the enhancements have been his proposals, including one he made on what +turned out to be his last day. Werner, my friend, I dedicate this work to +you and your memory. +} +\vfill +$$\boxit{\box4}$$ +\let\hrule\hrt\let\vrule\vrt +\vfill +\eject + +\section{Introduction} +%\setcounter{secnumdepth}1 + + \PMX is a preprocessor for \MusiXTeX{}. Before using it you should +have installed \MusiXTeX~Version 2.15 \NEW{2.6} or higher, and +any available version of \TeX~that includes e-\TeX. The goal of \PMX is to +facilitate the efficient typesetting of scores and parts +that have an almost professional appearance. It can do {\it all} the work +involved in setting up {\tt \bs notes-\bs enotes} groupings, +selecting groups of +notes to be beamed, defining beam heights and slopes, spreading the +entire piece evenly over specified numbers of systems and pages, and inserting +extra spaces where needed to make room for accidentals, flags, dots, +and new clefs. The input language for \PMX is much simpler than +\MusiXTeX. You can enter note values and rests from 64ths to double +whole notes ({\it breves}), ornaments, slurs, and limited text strings. Every +voice in every bar must have exactly the correct number of beats in +the current meter, but you may change the meter at the beginning of any +measure, with or without printing the new time signature. Before making a +\TeX{} file, \PMX checks these timings and other aspects of the input. +\PMX has special features for dealing with baroque chamber music, including +the ability +to notate figured bass below the bottom staff in each system. If \PMX hasn't +yet learned to do something you want to do, you can usually work around the +problem by inserting literal \TeX\ strings in the \PMX input file. + + You can automatically create parts from a score using {\bfx scor2prt}. +This auxiliary program generates a set of {\tt .pmx} input files, one for +each part, from a single {\tt .pmx} file for the score. +You can control the appearance of the +parts with special commands in the main file, thereby making it +possible to include within a single input file all the information +that defines the score and the individual parts. + +The basic \PMX +distribution as of this version of the manual is +\href{http://icking-music-archive.org/software/pmx/pmx270.zip} +{\underline{\tt pmx270.zip}}. It +contains the FORTRAN sources, and binaries that will run in a DOS +window on a PC with WINDOWS95 or higher. +The +\href{http://www.icking-music-archive.org/software/htdocs/Getting_Started_Four_Scenar.html} +{\underline{software section}} of the Werner Icking Music Archive (WIMA) has instructions +for acquiring and installing \MusiXTeX~and \PMX on various platforms +(Windows, Mac-OSX, Unix-like systems) including using automated procedures from +several external \TeX~distribution sites. +The packages from those other sites will +all eventually incorporate all the upgrades in {\tt pmx270.zip} but will take +varying amounts of time to do so. \PMX is often upgraded; the most current version will +always be available directly from the ``News'' paragraph +\href{http://www.icking-music-archive.org/software/htdocs/htdocs.html}{\underline{here}}. + +\subsection{Conventions for This Manual} + + Hey, this is boring stuff, but if you take a minute to understand +the typographic conventions and a little jargon, +it may avoid some confusion down the road. + + The typewriter typeface always indicates verbatim text as it would +be input to a computer. This includes file names, \MusiXTeX{} tokens, and +\PMX commands, e.g., {\tt barsant.pmx, \bs internote, c44}. + + Bold is used for program names (e.g., {\bfx pmxab}), or when applied +to a single letter, to relate a \PMX command to its meaning (e.g., ``{\tt e} +signifies a l{\bf e}ft shift''). + + When\NEW{2.5}~viewing the PDF version of this document on a computer +screen, clickable internal hyperlinks are colored blue, and clickable external +links are underlined and colored cyan. + + Italics may mean several different things depending on the context: +simple emphasis, or the first appearance of {\it jargon} +(buzz-words that need to be explicitly defined), or finally +to represent input variables for which some verbatim text would need to be +substituted. In the latter case the variable will be surrounded by +square brackets, e.g., [{\it basename}], but the brackets are not to be +included with the substituted text. + + Speaking of jargon, there are several special words that have very +specific meanings here: A {\it staff} is one set of 5 lines (plural +{\it staves}), a {\it system} is a group of staves, and {\it voice} refers to +one of the one or two +simultaneous allowable sequences of notes in a staff. Note that this +is a change \NEW{2.5}from versions prior to 2.5, where {\it voice} was used +interchangeably with staff. + +A \PMX {\it command} is a string of characters with no spaces between them. +The first character determines the type of command. Any other characters +are parameters that may be either required or optional. Sometimes we loosely +use the word {\it command} to refer just to the initial character. + +\subsection{Setup} + + Here we briefly describe the setup for the Windows OS, +assuming \TeX\ and \MusiXTeX\ have already been installed. After compiling the +FORTRAN source code, users of other OS's +may either adapt these instructions as needed or use one of the other setup +methods referenced earlier. + +After decompressing the distribution file {\tt pmx270.zip}, +you should have these +files: \NEW{2.7} {\tt pmx270.for}, {\tt scor2prt.for}, two +Windows executables {\tt pmxab.exe} and {\tt scor2prt.exe}, several sample +{\tt .pmx} files, +{\tt pmx.tex}, {\tt ref270.tex} (\TeX\ source for a command summary), +{\tt pmx270.tex }(\TeX\ source for this file), +PDF images of the latter two files, {\tt pmx25-27.html} showing +changes from version 2.50 to 2.70, {\tt install\_run\_PMX.pdf} which gives more +details about installing and running on different platforms. + +%If necessary, compile the FORTRAN programs. +%I have tried to keep the source code as generic as possible, but minor +%modifications may be needed for FORTRAN-to-C translation and/or other +%compilers. + + Once you have assembled a full set of files, put the executables +somewhere in the path or in your working directory, {\tt pmx.tex} into the +texinput directory, the sample {\tt *.pmx} files in your working +directory (the one from which you will run \PMXX), and the source code and +document files wherevever you wish. + +\subsection{Basic Operation, by Example} + +Edit the 15th line of {\tt barsant.pmx} to contain the path to the +directory where you want \PMX to write the {\tt .tex} file. For example, +if you want this to be the same as the working directory, type {\tt .\bs}~for Windows, +or {\tt ./} for UNIX. + +If you haven't done so, open a command window and navigate to the +folder containing {\tt barsant.pmx}. Execute \PMX by typing +{\tt pmxab barsant} . Alternatively, you may +just type {\tt pmxab } and you will be prompted +for a jobname, which in this case is just {\tt barsant} . +{\bfx pmxab} will always generate two files in the working +directory: {\tt barsant.pml} +is a log file, and {\tt pmxaerr.dat} contains a single integer, 0 if +the run was successful, otherwise the line number in the {\tt .pmx} file of the +fatal error (useful for batch processing). Also, on successful completion, +{\tt barsant.tex} will be placed in the path specified in the setup. + +Now you are right where you would be after +entering, debugging, and rough-editing the {\tt .tex} file manually. To see +the results, process {\tt barsant.tex} just as you would for any \MusiXTeX{} +file, running all three passes, and view the {\tt .dvi} file, or go on and run +{\bf dvips} to create a postscript file and view that with a postscript viewer +such as {\bf GSview}. To make +separate parts, run {\bfx scor2prt} by typing {\tt scor2prt barsant} .\NEW{2.0} +The program will create a new {\tt .pmx} file for each instrument, in this +case {\tt barsant1.pmx} and {\tt barsant2.pmx}. +You may then process these +files like you did the original one to create separate parts. + +\section{Elements of PMX} +\def\l@subsection{\@dottedtocline{2}{5em}{20em}}%original 2 3.8 3.2 +%\setcounter{secnumdepth}2 + +\subsection{Setup Data in the Input File} \label{setupdata} + + To see how the input file is put together, we'll look at +{\tt barsant.pmx}. For reference, here are are the first few lines: +\begin{verbatim} +%----------------% +% +% barsant.pmx Revised 29 June 2002 +% +%----------------% +% +% nv,noinst,mtrnuml,mtrdenl,mtrnmp,mtrdnp,xmtrnum0,isig, + 2 2 4 4 0 6 0 0 +% +% npages,nsyst,musicsize,fracindent + 1 7 20 0.07 +Basso +Recorder +bt +./ +\end{verbatim} +The lines +with {\tt \%} in column 1 are comments. +Some special handling of comment lines will be +discussed in the section on creating parts from a score in +section~\ref{scor2prt}. + +The rest of the lines in this example are the {\it setup data}. +Starting in the first non-comment line above, + +{\tt nv} (integer$\leq$24) \NEW{2.6} is the total number of +sta{\bf v}es per system. Each staff may contain either one or two voices, +but the total number of voices at any one time may not exceed 24. + +{\tt noinst} (integer$\leq${\tt nv}) is number of {\it instruments}. Each +instrument has a unique name (see below), and any instrument +with more than one staff will have its staves joined with a curly bracket. +Usually there is only one staff per instrument and {\tt noinst=nv}. There +are two ways to assign more than one staff to one or more instruments. +If only the first (lowest) instrument has more than one staff, such as in +a score for piano and a solo instrument, simply make +{\tt noinst$<$nv} and any difference will show up in instrument 1, the bottom +one in each system. +\NEW{1.4} For a +more general distribution of staves among instruments, +put a minus sign in front of {\tt noinst}, +and follow {\tt noinst} with the number of staves in each instrument in +succession, separated by spaces. These numbers must add up to {\tt nv} or your +computer will explode. For a typical example of keyboard music, see +{\tt mwalmnd.pmx}, in which {\tt nv=2} and {\tt noinst=1}, producing two +staves per system with a curly bracket at the left. + +The number of instruments can be changed as well after the start of the +score, but only to a number less than the original one. See +section~\ref{movbrk} to learn how to start with a smaller +number of instruments and later increase it. + +{\tt mtrnuml} is the {\it logical} numerator of the meter, or the number of +beats per measure; {\tt mtrdenl} the denominator. Please note the special +considerations in the paragraph after the next. If {\tt mtrnuml} is +divisible by 2 or 3, beam grouping will be automatic; otherwise you will +have to force all beams using {\tt [}$\dots${\tt ]} as described in +section~\ref{beams}. + +{\tt mtrnmp} and {\tt mtrdnp} are the {\it printed} numerator and denominator. +These determine the appearance of the meter in the printed output but +have no effect on the internal timing analysis. If {\tt mtrnmp$>$0} then it +and {\tt mtrdnp} are printed literally as the numerator and denominator +of the time signature. Please note the special considerations in the following +paragraph. If +{\tt mtrnmp$<$0}, then the numerator is abs({\tt mtrnmp}) and the +entire time signature will be printed with a vertical slash through +it. If {\tt mtrnmp}=0, then {\tt mtrdnp} determines the printed meter +as follows: + +\medskip + +\begin{tabular}{ll} +\tt 0 & No meter is printed ({\it blind} meter change)\\ +\tt 1, 2, 3, or 4 & A single digit, between the 2nd and 4th lines\\ +\tt 5 & Cut time (alla breve)\\ +\tt 6 & Common time\\ +\tt 7 & Numeral 3 with a vertical slash\\ +\end{tabular} + +\medskip + +There are special considerations for n/16 and n/1 time signatures (where the +latter "1" normally means a whole note). To get +n/1 time, use {\tt 0} (zero) for {\tt mtrdenl} and {\tt 1} for {\tt mtrdnp}. To +remember this rule, recall that the printed denominator is taken literally, +while the logical denominator can always be represented +by the same single digit used for the corresponding time value when entering +ordinary notes (see section~\ref{notes}). So +for n/16 time, use {\tt 1} for {\tt mtrdenl} and {\tt 16} for {\tt mtrdnp}. + +If the first bar is a partial bar containing a pickup, {\tt xmtrnum0} is +the number of beats in it; otherwise set it to 0. It need not be an +integer. The first bar is the {\it only} bar that can have a different +number of beats than the current value of {\tt mtrnuml} (Later we'll see how +to change the meter). + +{\tt isig} is the key signature, positive integer for sharps, negative for +flats. + +If {\tt npages}$>$0, it is the number of pages and {\tt nsyst} is the total +number of systems in the entire piece. \PMX will spread the entire +piece horizontally over this number of systems, and vertically over +{\tt npages} pages. For proper vertical spacing there should be from +about 9 to 16 staves per page. If you specify too many staves for the number +of pages, one or more staves may spill over onto an extra sheet. If this +happens it will only become obvious when you preview the {\tt .dvi} file. +One solution is to use the global option {\tt Ae} +(see section~\ref{AeDirective}); another is to increase {\tt npages} or +decrease {\tt nsyst}. + +If {\tt npages} is set to 0, then {\tt nsyst} is interpreted as the average +number of measures per system. This is useful while building up a +file a little at a time. \PMX will calculate how many systems to use, and +spread them over an appropriate number of pages. + +{\tt musicsize} is 16, 20, 24, or 29, the height of a staff in points, with +20 considered the default\NEW{2.6}. + +{\tt fracindent} is the indentation of the first system from the left +margin, expressed as a decimal fraction of the total line width. + +Next come the names of the {\tt noinst} instruments as you want them to +appear within the indentation in the first system, one per line, +starting with the {\it bottom} instrument. If you've set {\tt fracindent}=0 +and don't +want instrument names to appear, you must still leave {\tt noinst} +blank lines here. Next comes a single string of {\tt nv} +letters or numbers for the clefs, again starting with the bottom staff: +\label{ClefCodes} +{\tt b,~r,~n,~a,~m,~s,~t,~f} or digits 0-7 respectively for {\bf b}ass, +ba{\bf r}itone, te{\bf n}or, {\bf a}lto, {\bf m}ezzo-soprano, {\bf s}oprano, +{\bf t}reble, or \NEW{2.2} {\bf F}rench violin clef. +The last line of setup data contains the path to the directory +where you want the {\tt tex} file to go when \PMX creates it. The one +in {\tt barsant.pmx}~, +{\tt ./}~, represents the current directory in UNIX and some versions of DOS. +The path must terminate with {\tt /} or {\tt \bs}~. + +\subsection{Structure of the Body of the Input File} \label{structure} + + The rest of the {\tt .pmx} file is the {\it body} of the input. +The basic unit of input from here on is called an {\it input block} or +just {\it block}, each one representing an integral number of bars. If there +is a pickup bar defined by {\tt xmtrnum0} $>$ 0, +it must be included in the first block {\it together with at least one full bar}. +If you wish to put a pickup in a separate block, for example at the start +of a new movement, set the initial logical +meter to fit the pickup bar, then after the pickup bar do a blind meter change +as described in section~\ref{MeterChange}). + +There will usually be +4 to 8 bars in a block. 15 is the most allowed. It is good practice +to separate the blocks with comment lines that state which bars are +represented, as I've done in {\tt barsant.pmx}. +It is also advisable, although not required, to separate the bars with +the command {\tt |}. Its main functions +are to provide visual separation in the input file, and to help isolate input +errors: if you put one anywhere except +at a bar-end, {\bfx pmxab} will stop and show you where it detected the +timing error. Otherwise, with several minor exceptions, +{\tt |} has no effect. + +At the start of each block there may be a few special commands +(described starting in section~\ref{pmxcmds}). +Next come the input data for the selected number +of bars of the first (lowest in the system) voice in the first staff, followed by +either {\tt /} to move to the next staff, or {\tt //} to move to the next voice +on the same staff. Each new voice must start on a new line +in the input file, i.e., there should be no further data on the same input line +after {\tt /} or {\tt // }. + Continue entering other voices, each with +{\it exactly} the same number of bars as the first, +terminated by {\tt /} or {\tt //}, until + the last (topmost in the system) ends with a {\tt /} and the block is +finished. Within +a block every voice must have the same number of bars, but every block +needn't have the same number of bars as other blocks. The number of +voices in a staff can only be 1 or 2, and cannot change within a block, but +may vary from block to block. + + The data for each voice in each staff are a sequence of commands +containing one or more adjacent characters. Commands are separated from each +other by spaces. The line-terminating commands {\tt /} and {\tt //} should also +naturally be preceded by a space. + +\subsubsection{Notes} \label{notes} + + Commands for notes always start with a lower-case letter and, as +with all commands, end at +the first space. The first letter is the note name ({\tt a-g}). The +rest of the characters can be in any order with only a few +restrictions. The first digit defines the {\it basic time value} of the +note: {\tt 9, 0, 2, 4, 8, 1, 3} or {\tt 6} respectively for double-whole, +whole, half, quarter, +eighth, sixteenth, thirty-second, and sixty-fourth notes. The second +digit sets the octave (for reference, octave 4 runs from middle C to +the B above). Certain letters may appear after the initial one: {\tt d} +for {\bf d}ot; {\tt dd} for \NEW{1.4} double dot; +{\tt f, n,} or {\tt s} for {\bf f}lat, {\bf n}atural, +or {\bf s}harp (repeat the letter +immediately for a double); {\tt u} or {\tt l}, which force the stem +direction of any un-beamed note; {\tt e} or {\tt r} to shift the notehead +l{\bf e}ft +or {\bf r}ight by its own width; and {\tt a} (for {\bf a}lone) which inhibits +beaming for this note (or, if the first note of an xtuplet, for the +entire xtuplet). \NEW{2.4}A single accidental may be followed by {\tt c} to +make it {\bf c}autionary, i.e., surround it with parentheses. +Alternatively, it may also be followed by {\tt i} to +suppress typesetting \NEW{2.3} but still have +the M{\bf I}DI processor honor the accidental. Other characters allowed in note +commands are {\tt +}, {\tt -}, {\tt .}(period), {\tt ,}(comma), {\tt x}, and +several special characters following {\tt x}, all to be described below. +Between the first letter and the end or {\tt x} if present, +non-digits can be in any order with respect to each other and to the digits, +with minor exceptions involving shifting dots and accidentals. + +To move +a dot from its default location, simply follow the {\tt d} +with one or two decimal numbers, each predeced by +{\tt +} or {\tt -}. +The first is the +vertical shift in \bs{\tt internote}s, the second, the horizontal shift in +notehead widths. + +\label{AccidentalPosition} +Accidentals \NEW{1.4} can be shifted too. One way is to enter +{\tt +} or {\tt -} right after the accidental character, +then an integer +for the vertical shift, then another {\tt +} or {\tt -} followed by the +horizontal shift in notehead widths. If you use this method, you {\it must} +enter both numbers. Or, to just shift horizontally, use +{\tt <} or {\tt >} followed by the shift in notehead widths. When shifting +a sharp to avoid another sharp, a left shift of 0.85 is usually best. When +shifting a flat to avoid a flat above it, a left shift of 0.3 is suggested. +In chords (see section~\ref{chords}), if all the notes are in the same \NEW{2.4}voice, +\PMX will automatically shift accidentals if required. This will be disabled +for the current chord +if any user-defined accidental shifts are entered, unless {\tt A} is entered +along with the shift, e.g., {\tt zcsA<.5} . In that case the user-defined +shift will be added to the PMX-computed one. +\NEW{2.4} Another option that affects accidental positioning in +chords is {\tt Ao}, +entered in the main note command of a chord. It will force the accidentals +in that chord will be posted in the order +they come in the source file (starting with the main note), each one as far +to the right as it will go without crashing into a notehead, stem, or +another accidental. + + + Dots and accidentals always have to be entered when and if a note +calls for them. i.e., they are never carried over from previous notes. +On the other hand, the octave only needs to be entered if the note is +more than a fourth away from the most recent note in the same voice. +This feature lets you go for long stretches in a voice before needing +to enter the octave. An alternate way to jump more than a fourth but +less than a twelfth is to type {\tt +} or {\tt -}. In other words, these +mean to put the note an octave higher or lower than it +otherwise would have gone. Two {\tt +}'s will raise the pitch two octaves +above what it otherwise would have been, and so forth. +The basic time +value is also carried over from the past if it is not re-entered, +except for the first note or rest in each voice in an input block, +for which it {\it must} be entered. +Therefore, when the melody jumps more than a 4th, using {\tt +} or {\tt -} is +often more convenient than using a digit. This is because in order to +use the digit, you must first enter the basic time value whether it +changes or not. + + For example {\tt c44 d e f g a b c c0-} is an ascending quarter-note +scale starting on middle C, followed by an octave jump down to a +whole note middle C. + + Explicit octave \NEW{2.1} numbers can be combined with one or +more {\tt +} or {\tt -} . In earlier versions, {\tt +} or {\tt -} was +ignored if an octave number was specified. This is a slight backward +incompatibility; \PMX prints a warning when it happens. + +Stem length \NEW{2.4} can be shortened by {\it x} \bs{\tt internote} with +the option {\tt S}{\it x}~. {\it x} is restricted to the range (0.5,4.0). +The shortening can be made ``sticky'' by following the number {\it x} with +{\tt :} . Then every note's stem in the voice will be shortened until +one is encountered with the option {\tt S:} . + +The first note command in each voice in a block must +contain at a minimum the note name or {\tt r} for a rest (see below), +and a basic time value. For notes, it is good practice and can simplify +editing +if in addition an explicit octave is set here. However if it is not, +\PMX will make some assumptions. At \NEW{2.4} the start of the first +input block the pitch will be set as if the prior note were middle C. +In later blocks \PMX will use the +obvious inheritance rules from the end of the prior block. +However, if the number of voices in a staff +has changed from the prior block, it is safest to reset the octave at the +start of a new block. Duration is never inherited and must be set at the +start of each input block. + + Dots can be a little tricky, because even though they affect the +actual time value, they don't affect the basic time value, and it is only the +latter that is ``sticky". Therefore, if a note is to be dotted, you always have to +enter a {\tt d} (or a period, see next paragraph) somewhere within the +command, after +the note name, even if the actual time value and octave are the same +as the prior note. But the {\it basic} time value need not be re-entered if +it hasn't changed (unless the note is more than a fourth from the +prior note {\it and} you have for some strange reason elected to indicate the +octave with a number rather than {\tt +} or {\tt -} ). So for example, +consecutive dotted half notes, each within a fourth of the previous +one, could be most cleanly entered as {\tt cd24 ed gd ed}, whereas {\tt cd24 e} +would represent a dotted half note followed by a plain half note +(since the basic time value---as defined by the first digit---was a half +note all along). + + There are two special shortcut rhythmic notations. For normal dotted +rhythms (3:1 ratio), if you +include a period ({\tt .}) in the note command, it will +(a) assign a dot to the note just entered, (b) terminate that note, +(c) prepare to +receive the next note name {\it without any space}, and (d)~automatically +assign a time value to the second note equal to one-third of the first one. +No time value may be entered for the second note, but octave and accidental +data may. Ornaments and slurs (see below) following this command will apply +to the second member. If you need to follow the main note +with some modifying +\NEW{2.3} +command, you can still use the shortcut ({\tt .}) after that command and a +space. +The main advantage of this shortcut comes if you want to +follow one dotted pair with another of the same rhythm; then you +needn't enter any explicit time value for {\it either} member of the second pair. +This is possible because after using the shortcut, +the basic (inheritable) duration is set to that of the +{\it first} note in the pair, without the dot. + + For paired notes with 2:1 rhythmic ratios, the character {\tt ,}~(comma) +behaves similarly to the {\tt .}~(period) for 3:1 rhythms. + + Xtuplets, or groups of notes with their stems connected, +can have from 2 to 24 notes or\NEW{1.4} rests. Normally they +all have the same duration, but there are several options---described +below---to change this. The command for the first note of an xtuplet begins +exactly like a +note or rest command, with the name of the first note in the xtuplet, or +{\tt r} if it starts with a {\bf r}est (see next subsection), and an optional +time value. +However, the actual time value (including a dot if present and a basic +duration that may have been inherited from the prior note) now represents the +{\it total} duration of the xtuplet. Next (with no space, as usual) comes +{\tt x} followed by a one- or two-digit integer for the number of notes in +the xtuplet. The only options allowed immediately following the number are +{\tt d} and {\tt n} . \NEW{2.4}{\tt d} signifies that the {\it first} note +of the xtuplet should have a dot and the second, and extra flag. +{\tt n} controls the printing of the {\bf n}umber and bracket. +If {\tt n} is followed by a blank, then no number will be +printed. On the other hand, +an \NEW{2.3}{\it unsigned} integer here is taken as a substitute number to +be printed instead of the natural one. +If one or two {\it signed} decimal numbers follow {\tt n} +(each starting with {\tt +} or {\tt -}), the first +is a vertical shift in {\tt \bs internote}s, and the second, a horizontal shift +in notehead widths. Another suboption to {\tt n} is {\tt f}, +to {\bf f}lip the number vertically from its default position. A \NEW{2.5}final +suboption to {\tt n} is {\tt s} followed by a signed integer. It applies only +to non-beamed xtuplets, for which it tweaks the slope of the bracket above or +below the xtuplet. For non-beamed xtuplets, you can further change the +appearance of the bracket and number as explain in section~\ref{ATDirective}. + +The second through last notes of the xtuplet are each then +represented by a separate command containing a subset of the characters +permitted for ordinary notes or rests: note name or {\tt r} (the only required +character), accidental, and octave change character ({\tt +} or {\tt -}). +\NEW{1.4} The octave may be given explicitly instead, and any integer will be +interpreted as such, as no time values or dots are permitted. + +The last note of an xtuplet may not be a\NEW{1.4} rest. + +To double\NEW{2.3} the duration of any note in an xtuplet, add the +character {\tt D} to the command for that note. This will decrease the expected +number of notes in the xtuplet by one. To add a dot to the doubled note +(as Bach sometimes did), use {\tt F} instead of {\tt D}. +\NEW{2.4}To add a dot to one +note and an extra flag to the next, include {\tt d} in the note command, +{\it after} the {\tt x} if it's the first note of the xtuplet as noted above. + +As an example, an ascending quarter-note triplet scale would be +notated\hfil\break {\tt~c44x3~d~e~f4x3~g~a~b4x3~c~d~\dots} + +\subsubsection{Rests} + + The command for a rest starts with {\tt r}. +Then for a normal rest, in either order come a digit for the basic time value +(using same codes as for notes, optional if unchanged from previous value), +a {\tt d} if the rest is dotted, and a second {\tt d} if double dotted. +\NEW{2.0} The basic time value of a rest +affects future notes and rests the same as if it had come from a note, +i.e., it applies until another value is entered with a subsequent note +or rest in the same voice. The command {\tt rp} represents a +full-bar rest notated with a {\bfi p}{\it ause} character (whole rest) +regardless of +the time signature; in this case no other duration information is +needed or allowed. {\tt rb}, followed if necessary by a duration +specifier, denotes a {\bfi b}{\it lank} rest, one that occupies space and time +but is invisible. This is most often used when there are +two voices in a staff and one drops out for some of the duration +of the current input block. (See {\tt mwalmnd.pmx} for examples). +\NEW{1.4} The +option {\tt o} (for {\bf o}ff-center) suppresses centering a full bar rest. If +you don't exercise this option, then +{\it all} full-bar rests will be horizontally centered between bar +lines, including pauses ({\tt rp}) as well as normal rests that fill the bar. +\label{MultibarRest}{\tt rm} followed immediately by an integer will generate a +{\bfi m}{\it ulti-bar} +rest, a special combination of characters between two bar lines with an integer +above representing two or more bars of rest. +This command will generally only be used in separate parts +after having been automatically generated by {\bfx scor2prt}. However, it +\NEW{2.4}may be used in a multi-line score, provided it is entered for the same +number of bars in every staff. + + The default vertical position of a rest depends on whether there +are one or two voices in the staff. +For one voice it is just the \MusiXTeX{} default +(approximately centered on the middle line). On the other hand, in +the lower voice in +a two-voice staff, the rest is lowered {\tt 4\bs internote}, while +in the upper voice it is raised {\tt 2\bs internote}. The \PMX default can be +manually overridden by appending {\tt +}~or~{\tt -} and an integer +representing the offset from the {\it middle} line of the staff +(not from the \PMX default if there are two voices in the staff!). +So for example, in a single staff +in 3/4 meter, two voices, each with a half note followed by its own +quarter rest would be either +\begin{verbatim} +c24 r4 // +c25 r4 / +\end{verbatim} +or equivalently +\begin{verbatim} +c24 r4-4 // +c25 r4+2 / +\end{verbatim} +while +\begin{verbatim} +c24 r4+0 // +c25 r4b / +\end{verbatim} +would produce two notes followed by a single, vertically centered rest. + +Another way to override the default vertical positioning of rests is useful in +keyboard scores, or in fact any score containing two voices on a staff. +The option {\tt K} (for {\bf K}eyboard) in the +{\tt A} command generally causes rests to be +aligned horizontally with notes in the voice in which they are entered. See +section~\ref{Acommands} for a detailed description. + +\subsubsection{Chords}\label{chords} + + Chordal notes, which always share a stem and the same time value as the +prior note, are symbolized with {\tt z} (for {\bf z}ero time) followed by a note name and +optionally an accidental, {\tt +} or {\tt -} as octave indicator, and {\tt e} +or {\tt r} for a l{\bf e}ft or {\bf r}ight shift by one notehead width. +No basic time value is allowed. If the main note +is dotted, then the chordal note will appear with a dot regardless of whether +a {\tt d} is entered. The only time a {\tt d} is required in a chordal note +command is if the dot's position is to be adjusted; in this case the +{\tt d} is required, followed by one or two decimal numbers, each preceded by +{\tt +} or {\tt -}. The first is the vertical shift in \bs{\tt internote}s; +the second, the horizontal shift in notehead widths. +Any number of chordal notes can follow a +single main note. The stem direction of a chord is controlled by the main +note, but may be manually overridden with {\tt u} or {\tt l} in the main note +command. + + When chordal notes are beamed together, the default height and angle of +the beam will be determined by the main note on each stem (the one without +{\tt z}). If a beam joining chordal notes looks bad, you can usually +fix it either by changing which note acts as the main one, +or by fine-tuning the beam parameters as described +in section~\ref{beams}. + +\PMX uses a complex algorithm to automatically position accidentals in chords. +If you are unhappy with the result, you can manually tweak the horizontal +positions as described in section~\ref{AccidentalPosition}. + +\subsubsection{Grace notes}\label{graces} + + A grace note command starts with a {\tt G}. It is entered in its natural +order, normally before the main note, but sometimes after. After {\tt G} and +before the note name, comes any +combination of the following options: an unsigned integer (which may have 2 digits) +representing the number of +notes in the grace (default is 1), {\tt m} and a digit for +{\bfi m}{\it ultiplicity} +(number of flags or beams, default is 1, 0 is allowed), +{\tt s} for {\bf s}lur (joining all notes of the +grace to the main note; no other {\bf s} is needed on the main note), +{\tt x} for a slash (only for single graces), +{\tt l} or {\tt u} to force the direction of the stem(s), +{\tt X} followed by a decimal number {\it x} to insert a gap of {\it x} +notehead widths between a normal grace and its main note\NEW{2.6}, +{\tt A} (for +{\bf A}fter) or {\tt W} (for {\bf W}ay-after) to associate +the grace note with the {\it prior} note. Next comes the only +required character, the +first note name. No time value can be entered, but if needed, the +octave or an accidental can be given as in a normal note. Second and +later notes must follow immediately in sequence, set apart by spaces, likewise +without any time value, and without any intervening commands. + + Normal or after-graces will be placed {\it immediately} before or after +the main note; way-after's, as far to right as possible before the next note +or bar line. If either type of after-grace is slurred, the slur will start +on the main note and end on the last one in the grace. + + +\subsubsection{Ornaments} + + Commands for ornaments are entered {\it after} their associated +note command. The ornaments now available are shake ({\tt ot}), {\bf m}ordent +({\tt om}), ``x"- or ``+"-shaped ornament symbols ({\tt ox, o+}), pizzicato +({\tt ou}), strong {\bf p}izzicato ({\tt op}), left parenthesis before +\NEW{1.4} +notehead ({\tt o(}), right parenthesis after notehead ({\tt o)}), +upper {\bf f}ermata ({\tt of}), {\bf d}own {\bf f}ermata ({\tt ofd}), +staccato ({\tt o.}), tenuto ({\tt o\_}), se{\bf g}no +({\tt og}), arbitrary-length wavy-line {\bf t}rill with {\it tr} ({\tt oT}), +arbitrary-length wavy-line +trill without {\it tr} ({\tt oTt}), sforzando ({\tt o>}), +%duncecap ({\tt o}\hbox to 6pt{\tt\^~}), \NEW{2.4}{\bf c}aesura ({\tt oc}), and +duncecap ({\tt o\verb|^|}), \NEW{2.4}{\bf c}aesura ({\tt oc}), and +{\bf b}reath ({\tt ob}). +All except the parentheses, staccato, +tenuto, and down fermata will normally +appear above the staff; the parentheses appear at the level of the note +head, and staccato and tenuto just above or below depending on the +stem direction. The only difference between staccato and +pizzicato is the vertical positioning of the dot. + +The trill and segno command may have additional optional +characters. Either trill command may include a decimal number +to specify the length of the printed symbol in current \bs{\tt noteskip}s; the +default is 1. Thus {\tt oT0} represents {\it tr} with no wavy line. +A segno must be entered in the first (lowest) staff, but will appear above +every staff. It may be immediately followed by a positive or negative +integer, which indicates a number of points that it will be offset +horizontally. + + Once the ornament type has been specified, most of them can be raised +or lowered from their default position by appending +a signed integer to the command, representing the vertical offset +in \bs{\tt internote}s. \NEW{2.4}Caesura and breath may have in addition a signed +number giving horizontal shift from default in notehead widths. These two +ornaments also differ from the others in their default horizontal position, +which is 0.5\bs{\tt noteskip} past the note. + + An ornament can be automatically repeated on a series of consecutive notes, +provided the notes are all in the same voice and the same input block. +To activate this feature, terminate +the first ornament command with~{\tt:}~. Then every note in that voice will +have the same ornament until a note is followed by the repeat terminator +{\tt o:} . + +\subsubsection{Editorial accidentals} + + To place a small sharp, flat, natural, or question mark above the staff, +after the affected note enter {\tt oe} followed by {\tt s, f, n} or {\tt ?}. +\NEW{2.2} You may also put a question mark right after the accidental. + +\subsubsection{Slurs} \label{slurs} + + By default \PMX will use \MusiXTeX's built-in font-based slurs. +But through user intervention it is possible to use either one of +\NEW{2.4}two different types of postscript slurs. {\it Type K} slurs, +developed by Stanislav Kneifl, are directly supported by \PMX and will +be the focus of any future \PMX enhancements. +They are globally activated with {\tt Ap} and several global +defaults set with other options to the {\tt A} command as described in +section~\ref{ApDirective}. If these are used, so will an alternate +set of hairpins (see section~\ref{dynamics}). +The other postscript slur option is Hiroaki Morimoto's {\it Type M} slurs. +These +are not directly supported by \PMXX, but are intended to be fully +compatible with the default font-based slurs. To use them, one would +use the in-line \TeX~command \bs\bs{\tt input musixpss}\bs~, and be sure +{\it not} to enter {\tt Ap} . From \PMXX's standpoint they are no different +from font-based slurs. + +There are some advanced options available only +with Type K postscript slurs, and a few obsolete ones only with font-based. +At this point the main +difference in functionality between the two is that with postscript, \PMX +provides support for +true ties, which are shaped and positioned slightly differently from +slurs. Future enhancements +will probably only work with Type K postscript slurs. Some users do still +prefer +font-based, possibly because Type K postscript slurs are not visible in some +DVI viewers. +New users should experiment with the various types of slurs and decide for +themselves. + + The normal commands for slurs are {\tt (} placed with a space +before a note, and {\tt )} placed after. The command {\tt s} is equivalent to +{\it both} of them (!), except that it always follows the affected note. +With font-based slurs, {\tt t} is equivalent to {\tt s} but +with several minor differences to be explained later. With postscript slurs, +{\tt t} signals to use a true tie. +The commands {\tt s} and {\tt t} are {\it toggles}, turning +a slur or tie off if it's already on and starting one otherwise. + +A \NEW{2.5} slur or tie may end on a rest, but not start on one. The default +ending height in this case will be the same as the starting height, and it +may be tweaked as described below. + + The first character is optionally followed by +a single-character ID code {\tt 0-9} or {\tt A-Z}, then by other +options described below. ID codes are only needed if two or more slurs are +open at the same time within one voice, such as when several chord +notes are tied. Using ID codes in such cases tells \PMX which open slur to +close. ID codes cannot be used with font-based {\tt t} slurs. + +The rules for finding the default direction and position of the a slur +are complex; many factors enter into defining visually pleasing values. But +there's no need for gory details here; the result will usually satisfy, and if +not, all can easily be tweaked. The default direction of curvature can be +overridden with {\tt u} ({\bf u}pper), {\tt l} ({\bf l}ower), +or equivalently {\tt d} ({\bf d}own). +Starting or ending position can be shifted from its default by +entering one or two explicitly signed numbers. The first, which must be +an integer, represents the vertical shift in \bs{\tt internote}s; the second, +which may be decimal, the horizontal offset in notehead widths. + +The shape of the slur may be altered as well\NEW{2.1}. This paragraph +deals with font-based slurs, for which the shapes may be less +than fully satisfying due to fundamental limitations of \MusiXTeX. +At the slur termination only, one or three +more parameters may follow the ones just described. The first, a signed, +nonzero +integer, is a vertical adjustment to the mid-height of the slur in +\bs{\tt internote}s. The next two, integers between 1 and 7 following a +``{\tt :}", are alterations to the starting and ending slopes. +These numbers are +passed directly as arguments of the \MusiXTeX{} macros \bs{\tt midslur} +(if only +one is given) or \bs{\tt curve} (if there are three). + +For \NEW{2.4}Type-K slurs, +the shape may be changed locally by including {\tt f} in either the +slur's starting or ending command to flatten it a bit, or {\tt h}, +{\tt H}, or {\tt HH} to +increase its curvature and raise or lower its middle by increasing degrees. +The default \NEW{2.5}curvature can be altered from normal +with new suboptions +to {\tt Ap} as described in section~\ref{ApDirective}. Local +curvature tweaks will take precedence over the global default. A special +option {\tt n} to the slur command can be used to locally restore the normal +curvature if the default curvature has been globally changed. + +Another option peculiar to Type-K slurs and ties is to locally +override the global +setting for automatic height adjustment (to avoid tangencies with staff +lines). The global defaults may be changed with the {\tt A} command as +described in section~\ref{ApDirective}. To +override the global setting for the current slur or tie only, use +the option {\tt p} in the command that starts the slur or tie, +followed by {\tt +} or {\tt -} (to turn adjustment +on or off), followed by {\tt s} or {\tt t} (for slur or tie). + +A dotted \NEW{1.41} slur is activated by including the option {\tt b} (for +{\bf b}roken) in the command that starts the slur. + +Slurs involving grace notes are specified within the command for the grace +(see section~\ref{graces}). + +For font-based slurs, the unique aspect of {\tt t} slurs is that if one +starts or ends on the same +note as an {\tt s} slur, the former will be moved away from the notehead to +avoid a collision. {\it This only works if neither slur has an ID code.} +This feature is only retained for backward compatibility. + +The available options should cover most circumstances, but if not, +the \TeX\ macros \bs{\tt isu} etc, defined in {\tt pmx.tex}, can be entered +as in-line \TeX\ commands (see section~\ref{LitTeX}). +These commands have three arguments: +slur number, vertical position (pitch, or offset from bottom staff line in +\bs{\tt internote}s), and horizontal offset in +notehead widths. When using these commands, you must choose an explicit +slur number. Use one large enough to avoid +conflicts with \PMXX 's automatic slurs, which are numbered from \NEW{2.4} +0 upward. +Also, remember that non-spacing in-line \TeX\ commands such as this one must +come {\it before} the note they apply to, in contrast with the \PMX +slur toggles which may come after. + +\subsubsection{Ties} + +With font-based slurs, in \PMX the only difference between ties and slurs +is the default positioning. +Ordinary slur ends are centered horizontally above or below the notehead, +while tie ends are shifted inboard and closer to the midheight of the +notehead. To specify a font-based tie in \PMXX, use a slur command and +include the option {\tt t} +in it, somewhere after the initial {\tt ( , ) , s } or {\tt t} . + +\NEW{2.4} With postscript slurs, ties---indicated with {\tt t} or +{\tt st}---will have similar differences +in endpoint positions, +but in addition will have a different shape (somewhat flatter) and will +always end at the same height they start. There is also an option to the +{\tt A} command that affects ties across line breaks +(see section~\ref{ApDirective}). By default the +second part of such ties will be drawn as a complete tie symbol. However, +if you want them to be a {\it half tie}---a special shape that is horizontal +at its left end---use the command {\tt Ap+h} at the start of the file. + +In addition to the notation options just mentioned, ties may also be +%indicated with the character {\tt\{} before the starting note and {\tt\}} after +indicated with the character {\tt$\{$} before the starting note and {\tt$\}$} after +the ending note\NEW{2.6}. + +\subsubsection{Line-breaking Type K slurs and ties} \NEW{2.5} \label{lbslurs} + +No special action is required if a slur or tie happens to cross a line break. +However, some special, manual adjustments are available for Type K postscript +slurs in these cases. The global option {\tt Apl} by itself adjusts several +parameters as described in section~\ref{ApDirective}. Further, if {\tt Apl} +has been issued, +then case-by-case adjustments for line-breaking Type K slurs and ties are +available as suboptions to the +slur commands. To tweak the horizontal and vertical positions of the end of +the first segment, enter the suboption {\tt s} in the command that starts +the line-breaking slur or tie, followed by two signed numbers representing +respectively the vertical shift +in \bs{\tt internote}s and the the horizontal shift in notehead widths. To +tweak the position of the start of the second segment, follow the above by +another {\tt s} and two more signed numbers. The usual curvature options +{\tt h}, {\tt H}, {\tt HH}, and {\tt f}, if included in +the starting command for a line-breaking slur, will apply only to the first +segment, and if in the closing command, to the second segment. If the tweaked +slur or tie does not happen to come at a linebreak, +the special position tweaks (after {\tt s} ) will all be ignored, and the +curvature tweaks on the closing note will take precedence as they normally +would. + +\subsubsection{Dynamics} \label{dynamics} + +\NEW{2.3} +After the affected note, enter {\tt D} followed by one of the +following {\tt pppp, ppp, pp, p, ffff, fff, ff, f, mf, mp, fp, sfz, +"[{\it any text}]", >,} +or {\tt <} . The last two are diminuendo and crescendo, and they are toggles, +i.e., the first one of each starts the symbol and the next one ends it. +The one surrounded by double quotes is an arbitrary text string. +With any dynamic mark, you can also +enter position shifts, vertical as a signed integer representing +the number of {\tt \bs internote}s, then horizontal as a signed number representing +number of notehead widths. There can only be one of the letter-groups on each +note, but there may also be {\tt D<} and/or {\tt D>} on the same note. These must be +entered as separate {\tt D...} commands, and must come in the right order, e.g., + +\medskip +[{\it some notes}] {\tt D<} [{\it more notes}] {\tt D< Dffff D>} +[{\it more notes}] {\tt D>} +\medskip + +Hairpins \NEW{2.7} may span from one input block to the next. + +There are numerous context-sensistive automagic adjustments to the positions +of all the dynamic symbols. If you don't like the result you can adjust the +position as just described. + +Due to \MusiXTeX's limitations, +there are some restrictions on hairpins when using font-based slurs. +They cannot be longer than 68mm, they cannot wrap over a system break, and they +must be horizontal. Finally, +only certain specific lengths are available so some horizontal position +tweaking may be needed, especially when letter-groups and +hairpins are combined. +These restrictions are all removed when using postscript slurs. + +\subsubsection{Beams} \label{beams} + + For the most part, \PMX automatically takes care of the details of +defining beams: selecting which notes are beamed together, and setting +the angle, direction, height, and {\it multiplicity} (the number of bars +along the top or bottom). However, one may define a {\it forced} +beam---which overrides \PMXX 's selection of which notes are beamed +together---by +surrounding the included notes with {\tt [} and {\tt ]}, being certain to +separate these commands and their options from the included note commands with +spaces. One may also wish to edit certain features of a beam even when +\PMXX 's grouping decision +would otherwise be acceptable; here again the beamed notes must be set +apart with {\tt [} and {\tt ]}. + +The {\tt [} may optionally be followed +immediately by several options. + +{\tt u} or {\tt l} will override +\PMXX 's selection of the direction of the beam, while {\tt f} will +{\bf f}lip it from whatever \PMX decided. + +{\tt j} {\bf j}oins the beam +grouping to a prior one started in another system (see below). + +One, two, or three consecutive integers, each preceded with {\tt +} +or {\tt -} , will affect the beam's appearance. The first integer is +an adjustment to the starting level (in \bs{\tt internote}s) and may range +from -30 to 30; the second is a slope adjustment with the same +permissible range; the third is an alternate adjustment to the +starting level (in beam thicknesses) and may only range from 1 to 3, +always acting to increase the stem length. The latter may be used to +align consecutive horizontal beams which have internal multiplicity +changes. For example, in 2/4 time, {\tt c84~c1~c~c~c~c8} would cause two +beams but the +first one would be lower than the second; {\tt [+0+0+1~c84~c1~c~]~c~c~c8} +would align the tops of the beams with each other. Due to the +complexity of \PMXX 's beam analysis procedures, these editing commands +may sometimes produce unexpected results, and some iteration may be +required to get exactly what you want. For example, +{\tt [+0+0+3~cd8~c3~c6~c~]~c~c~c3~cd8} +will not produce two aligned beams as desired, because +when \PMX analyzes the first beam, it automatically raises the starting +level a bit for another reason, namely, to avoid too short a stem on +the 64th notes at the end of that beam. In this case, +the user could counteract \PMXX 's internal adjustment by using +{\tt [-1+0+3~cd8~c3~c6~c~]~c~c~c3~cd8}. + +The character {\tt m} followed by a digit 1-4 forces the {\bf m}ultiplicity +of the +beam, the number of stem-joining bars. + +The option {\tt h} forces the beam to be {\bf h}orizontal. + + By default, xtuplets are set apart with their own beam. To beam +an xtuplet together with other non-xtuplets, just include it with the +other notes in a forced beam. + + Rests may also be included within forced beams, provided they are +shorter than quarter rests, and of course that they come {\it between} the first +and last notes under the beam. + +It's \NEW{2.5} now easy to define a repeating forced beam pattern. +If the option {\tt :}~(colon) is included in the starting command {\tt [}~for +a forced beam, then after you end the beam, more beams of the same duration +will be forced in +that voice, until stopped. They will be stopped at either the next regular +forced beam, or the end of the input block for that voice, whichever comes +first. + + Some users may wish to define beamed groupings with subgroups +joined by a single beam. The command {\tt ][}, standing alone between two +note commands in a forced beam, causes the multiplicity to decrease to +unity and immediately increase to its natural value for the next note. +For example, {\tt [~c14~c~c~c~][~c~c~c~c~]} will generate two doubly-beamed +groups connected by a single beam. + +Related \NEW{2.3} to this is a {\it single-slope beam group}, which is the +same as described +in the previous paragraph except that the beam disappears between segments. +Segments should be separated by {\tt ]-[} standing alone between two notes +inside the forced beam. + + If there are large jumps in pitch between notes in a beam within +a single staff, as a matter of taste you may wish +to start the beam for example as an upper one and end it as a +lower. \PMX will never do this automatically, but you can accomplish +it by forcing the beam with appropriately modified up/down-ness, starting level, +and slope. If you use this technique, there are two details to note: (1)~if +there are any intermediate multiplicity changes, they will only be handled +properly if the initially specified up-down-ness is consistent with the +vertical position +of the intermediate notes involved, and (2)~for proper appearance in crowded +scores you may wish +to insert hardspace or shifts as described in +section~\ref{hardspace}. Some examples are included in {\tt most.pmx}. + + Beams cannot normally jump staves. But if that is desired, start +the beam normally in one staff, and terminate the part of the beam in that +staff with {\tt ...~]j} . Then resume the beam in the new, adjacent staff with +{\tt [j~...} . For staff-jumping beams, it's OK to have just a single note +inside one or both of the members. Some adjustment of the beam height and +slope may be required. Sometimes the ending section's up-downness must be +overridden; you will know this is so if the ending is shifted horizontally +from its proper position by one notehead width. +Each voice must still have the right number +of beats, so you will probably need to fill time with blank rests after the +first member of the beam in one staff and before the second member in the other. +There can +still only be one staff-jumping beam open at a time. + +\subsubsection{Clefs} + + A clef change is signaled by {\tt C} followed by a single lower-case +letter using the code specified in +section~\ref{ClefCodes}. Numbers may also be used as +defined in the \MusiXTeX{} documentation. If clefs come out at the wrong +vertical position, refer to the note in {\tt pmx.tex}. + +\subsubsection{Arpeggios} + +To set an arpeggio (a vertical wavy line), simply place the command {\tt ?} +after the commands for both the first and last note. To shift the symbol to +the left by {\it x} notehead widths, use the option {\tt -}[{\it x}]\NEW{2.6} . + +\subsection{Commands That Affect All Voices} \label{pmxcmds} + + Most commands that affect all the voices can only appear in the first +(lowest) voice in the first (lowest) staff. Most such commands will +automatically be +transferred from score to parts when separate parts are generated by +{\bfx scor2prt} (see section~\ref{scor2prt}). + +\subsubsection{Repeats, double bars, forced single bars} + + Repeat signs, double bars, and other bar-ending options are signaled +by {\tt R} followed by +{\tt l, r, lr, d, D, dl, b} or {\tt z} for +{\bf l}eft repeat, {\bf r}ight repeat, {\bf l}eft-{\bf r}ight repeat, +thin-thin {\bf d}ouble +bar, thin-thick {\bf D}ouble bar, thin-thin {\bf d}ouble bar followed by +{\bf l}eft repeat, single {\bf b}ar, or blank (invisible) barline\NEW{2.4}. +Some of these have peculiarities. +{\tt Rb} forces a single bar before a movement break (see section~\ref{movbrk}), +where otherwise by default there is a double bar. That can be useful for +example if you +change the number of instruments (via an option in the movement-break command) +in the middle of a movement. {\tt Rz} will cause a blank barline at the end +of the current system, not necessarily the current bar. It can be used +together with blind meter changes if you want to split a bar across a +system break. +If {\tt Rlr} falls at a system break, \PMX will automatically split it in +two. The command {\tt Rdl} will likewise be split at a system break, but if +not at a system break, the {\tt d} will be ignored. + +These commands must be in the +first voice. It is best only to place them before the first note in an +input block or if necessary after the last one; otherwise {\bfx scor2prt} +may behave erratically. +Using two separate {\tt R} commands in succession will cause +unpredictable results. + + +\subsubsection{Voltas (first and second endings)} + + Beginnings and ends of first and second endings are signaled by +{\tt V} (for {\bfi v}{\it olta}). +If it's the {\it end} of the volta, add the option {\tt b} (for +{\bfi b}{\it ox}) or {\tt x} for {\it no bo}{\bfi x}. +If it's the {\it start} of a volta, you can +optionally enter any text at all that doesn't include a space and doesn't +start with {\tt b} or {\tt x} (most +commonly {\tt 1} or {\tt 2}). A period will automatically be +appended to the text. If one volta ends and another starts right +away, only a single {\tt V} is needed. Voltas must only be entered in the +first voice. If separate parts are to be created from a score using +{\bfx scor2prt}, then only a single volta is allowed in any given input +block, and it must be at the beginning of the block. + +\subsubsection{Meter changes}\label{MeterChange} + + Meter can only be changed at the beginning of an input block. +A {\bfi m}{\it eter change} command starts with the letter {\tt m}. +There are two different ways to complete the command. + +{\bfx Method 1.} Enter 4 numbers +with no intervening spaces. The four numbers are {\tt mtrnuml}, +{\tt mtrdenl}, {\tt mtrnmp}, {\tt mtrdnp} as defined in section~\ref{setupdata}, +with the following exceptions for this method only: +You must use {\tt o} to represent +the number 1; if you enter the digit {\tt 1} then \PMX will interpret that +digit and the next as a 2-digit integer, between 10 and 19 inclusive. +19 is the largest number that can be entered with this method. Note that +{\tt mtrdenl=0} still represents a whole note. + +{\bfx Method 2.} \NEW{1.4} Enter the four numbers verbatim in the order just +listed, but separate them with slashes ({\it /}). + +\subsubsection{Fundamentals of key changes and transposition}\label{transpose} + +As explained in section~\ref{setupdata}, the intial key signature, also called +the concert key, is specified in the setup data. In order to change the key +signature or to transpose (i.e. make the printed notes appear at a different +level than where +they were entered), use the {\tt K} command. The syntax is {\tt K}[{\it n}][{\it k}] +where {\it n} and {\it k} are explicitly signed digits respectively giving the distance +to transpose in \bs{\tt internotes}, and +new key signature. When transposing, you should always use relative accidentals, activated by +the separate command {\tt Ar} at the start of the first input block (see section~\ref{ArDirective}). +For example, to transpose a piece in C major to E major you would enter +{\tt Ar~K+2+4} at the beginning of the first block. + +To transpose by a half step to a key with the same +letter name, use {\tt K-0}[{\it k}] where as before {\it k} is an explicitly signed integer giving +the new signature. +(Using {\tt -0} instead of {\tt +0} eliminates confusion with a simple key +change, see the next paragraph.) + +A simple key change can be signalled at the start of any input block. Use +the command {\tt K} with {\it n}={\tt +0} as the first argument and the new key signature as the second. + +If the signature changes from sharps to flats +or vice-versa, the default will be to include naturals in the first instance of the new +signature. To suppress this behavior, use the \NEW{2.7}option {\tt n} right after {\tt K} . +For example, to change from +2 flats to 3 sharps and suppress the naturals, enter {\tt Kn+0+3} . + +The procedures described above will affect all instruments in the score. To change the key of or +transpose just a single instrument, use Ki[{\it m}][{\it n}][{\it k}] when {\it m} is an unsigned integer +representing the instrument number, and {\it n} and {\it k} are as just described. +For more than one instrument, you may immediately repeat everything after {\tt K} (including {\tt i}). +This may come either at start of score (right after setup) or at the beginning of any later input +block. But if it's later, it must be preceded by a normal +(full score) non-transposing key change command {\tt K+0}[{\it k}]. +For example, to change the keys of the second and third instruments to one sharp and two sharps +respectively, use {\tt Ki2+0+1i3+0+2} . + +\subsubsection{More on transposition; ``transposing'' instruments and example files} + +In practice, two fundamentally different situations may arise: (1) (Full-score transposition) A +score that has been entered in one key +is to be completely transposed to a different key and pitch level, usually to force the range to fit +different instruments than original; or (2) (``Transposing'' +instruments) some of the instruments require a part printed in a different key and at a different +pitch level than it sounds. + +To transpose +an entire score from the key specified in the setup data (Case TTA), simply use the +{\tt K} command at the +beginning of the first input block, as outlined in the previous section. + +It gets more complicated when some transposing instruments are involved, +because there are three different possibilities: +(Case~CTS)~The transposing instruments can be entered in concert key but printed +transposed in the score and in separate parts created with {\bfx scor2prt} (see +section~\ref{scor2prt}); +(Case~TTS)~They can be entered transposed and printed transposed in +both the score and in parts; +(Case~CCS)~They can be entered in concert key and printed in concert key in the score, but +printed transposed in parts. Matters are further complicated if there is a later key +change. Finally, if a MIDI file is to be produced, then in cases CTS and TTS an additional +step involving the transpose option to the MIDI command {\tt I} +(see section~\ref{MIDI}) must be taken. + +All of the required commands for all four of these cases are summarized in the table +below. Following that, they are discussed a bit further and illustrated in +four example files (named [Case]{\tt .pmx}) that are also included in the distribution. + +\font\smaller=cmr10 +{\smaller +\begin{center} + \begin{tabular}{cllcll} + \hline + Case & PMX entry & Printed score & MIDI pitch & Initial commands & Later key change \\ + \hline + TTA & All B flat major, & All transposed up & transposed & {\tt K+2+2} & {\tt K+0-5} \\ + ~ & later key change & 2 steps to D & ~ & {\tt I} & ~ \\ + ~ & to B flat minor & major, later to D & ~ & ~ & ~ \\ + ~ & ~ & minor & ~ & ~ & ~ \\ + \hline + CTS & All B flat major, & Trombone (1) & concert & {\tt Ki2+5+1i3+1+0} & {\tt K+0-5} \\ + ~ & later key change & concert; alto sax & ~ & {\tt IT+0-5-1} & {\tt Ki2+5-2i3+1-3} \\ + ~ & to B flat minor & (2) transposed up & ~ & ~ & ~ \\ + ~ & ~ & 5 to G, later G & ~ & ~ & ~ \\ + ~ & ~ & minor; clarinet (3) & ~ & ~ & ~ \\ + ~ & ~ & transposed up 1 to & ~ & ~ & ~ \\ + ~ & ~ & C, later C minor. & ~ & ~ & ~ \\ + \hline + TTS & Trombone (1) & Trombone (1) & concert & {\tt Ki2+0+1i3+0+0} & {\tt K+0-5} \\ + ~ & concert; alto sax & concert; alto sax & ~ & {\tt IT+0-5-1} & {\tt Ki2+0-2i3+0-3} \\ + ~ & (2) transposed up & (2) transposed up & ~ & ~ & ~ \\ + ~ & 5 to G, later G & 5 to G, later G & ~ & ~ & ~ \\ + ~ & minor; clarinet (3) & minor; clarinet (3) & ~ & ~ & ~ \\ + ~ & transposed up 1 to & transposed up 1 to & ~ & ~ & ~ \\ + ~ & C, later C minor. & C, later C minor. & ~ & ~ & ~ \\ + \hline + CCS & All B flat major, & All B flat major, & concert & {\tt \%2K+5+2} & {\tt K+0-5} \\ + ~ & later key change & later key change & ~ & {\tt \%3K+1+0} & ~ \\ + ~ & to B flat minor & to B flat minor; & ~ & ~ & ~ \\ + ~ & ~ & parts printed & ~ & ~ & ~ \\ + ~ & ~ & transposed & ~ & ~ & ~ \\ + \hline + \end{tabular} +\end{center} +\medskip +} + +{\bfx Case TTA: Full score transposition.} +Here the entire score is to be transposed. In the setup data the signature is set to -2. Then +the command {\tt K+2+2} says to transpose up 2 steps from the initial key of B flat to D, and put 2 +sharps in the key signature. No special attention is needed for the MIDI; it will come out in the +transposed key. A later (full-score) key change requires another {\tt K} command, but now the +transposition parameter is set to 0 and the new key is the concert key (I guarantee people will be +confused by this). In the example the command for the signature change is {\tt K+0-5} , making the +new concert key B flat minor with 5 flats, and, considering the initial transposition, causing the +score and MIDI to come out in D minor with 2 flats. + +{\bfx Case CTS: Parts all entered in concert key, but some transposed in the printed score.} +Here, to produce the +printed score, parts are all entered in concert key, but instrument-wise transposition is used for +the transposed instruments. In the example the alto sax part is entered in B flat but will be +transposed up 5 steps in the printed score, to G major. This is brought about with {\tt Ki2+5+1} . Similar +logic applies to the clarinet part, while the trombone part is not transposed. If a MIDI file is +desired, it will come out in concert key, but only after using the transpose option in the MIDI +command to undo the transpositions caused by the K command. In the example the command +{\tt IT+0-5-1} does this, ``de''transposing each of the three instruments by the necessary number of +steps. For a later key change, first the full-score {\tt K} command changes the concert key, then the +instrument-wise {\tt Ki command}, with the same transpositions as the initial one, sets the new key +signatures for the transposing instruments. Here the signatures to be entered are the transposed +signatures, i.e., the ones that will be printed. + +{\bfx Case TTS: Parts entered in respective transposed keys, and printed in those keys in the score.} +In this method of scoring transposing instruments, parts for transposing instruments +are transposed ahead of time and +entered exactly as they will appear in the score. So to produce the printed +score this way, the pitch does not have to be changed, but the key signatures must be set +separately for each transposing instrument using the {\tt Ki} command. In the example, the alto sax is +entered in the key of G so the instrument-wise option for it is {\tt Ki2+0+1} . Note that {\tt +0} means no +further transposition is needed before printing, because the part was transposed on entry. Once +again, if a MIDI file is desired, it will come out in concert key, but just as in the previous case, +you must use the transpose option in the MIDI command {\tt IT} to undo the transpositions caused +by the {\tt K} command. For a later key change, the same full-score {\tt K} command as in the previous +case is used to change the concert key. Then the instrument-wise {\tt Ki} command, now with {\tt +0} for +the transpositions, sets the new key signatures for the transposing instruments, again using the +transposed signatures. + +{\bfx Case CCS: Parts entered in concert key, printed in score in concert key, but transposed in +separate printed parts.} +This is the easiest case of all. Nothing special needs to be done for the score, but part-only, +full-score transposition commands {\tt\%}[instrument number]{\tt K...} should be entered in the score. Then +{\bfx scor2prt} will generate a transposed part. Of course if a MIDI is made from the score it will +come out at concert pitch. For example, to transpose the alto sax part up 5 steps, initially to G +major, near the top of the score file enter {\tt\%2K+5+1} . Later, where the concert key changes to B +flat minor and the alto sax to G minor, enter simply {\tt K+0-5}, making the new concert key B flat +minor with 5 flats. When {\bfx scor2prt} is invoked to make separate parts, this will be transferred +verbatim into all parts, and then \PMX will internally adjust the signature for each transposed part +as required. + +{\bfx Making separate parts.} +In all of the cases discussed, if the patterns of commands in the table are followed, then +separate parts can be made as usual using {\bfx scor2prt}. They will +automatically come out transposed as desired. + +\pagebreak +{\bfx Texts of the transposition sample files:} +% Note: when editing is done, figure out how to make scripts size work without page break. +\begin{scriptsize} +%\begin{tiny} +\begin{multicols}{4} +\begin{verbatim} +%TTA.pmx +3 2 4 4 4 4 0 -2 +1 1 20 .13 +Trombone II+III +Trombone I +bbb +.\bs +Tt +TTA +Apr +I +K+2+2 +b42 d f b t b t gf df b / +b42 d f b t b t gf df b / +b42 d f b t b t gf df b / +K+0-5 +b42 c d e f gs as b / +b42 c d e f gs as b / +b42 c d e f gs as b / + + + +%CTS.pmx +3 3 4 4 4 4 0 -2 +1 1 20 .1 +Trombone +Alto Sax +Clarinet +btt +.\ +Tt +CTS +Apr +Ki2+5+1i3+1+0 +IT+0-5-1 +b42 d f b t b t gf df b / +b43 d f b t b t gf df b / +b44 d f b t b t gf df b / +K+0-5 +Ki2+5-2i3+1-3 +b42 c d e f gs as b / +b43 c d e f gs as b / +b44 c d e f gs as b / + +%TTS.pmx +3 3 4 4 4 4 0 -2 +1 1 20 .1 +Trombone +Alto Sax +Clarinet +btt +.\ +Tt +TTS +Apr +Ki2+0+1i3+0+0 +IT+0-5-1 +b42 d f b t b t gf df b / +g44 b d g t g t ef bf g / +c45 e g c t c t af ef c / +K+0-5 +Ki2+0-2i3+0-3 +b42 c d e f gs as b / +g44 a b c d es fs g / +c45 d e f g as bs c / + +%CCS.pmx +3 3 4 4 4 4 0 -2 +1 1 20 .1 +Trombone +Alto Sax +Clarinet +btt +.\ +Tt +CCS +Apr +%2K+5+1 +%3K+1+0 +I +b42 d f b t b t gf df b / +b43 d f b t b t gf df b / +b44 d f b t b t gf df b / +K+0-5 +b42 c d e f gs as b / +b43 c d e f gs as b / +b44 c d e f gs as b / +\end{verbatim} +\end{multicols} +\end{scriptsize} +%\end{tiny} + +\subsubsection{Text} + + The commands {\tt h} or {\tt l}, when placed in the first +column of an input line and followed by a blank or, for {\tt h} only, by +a signed integer, +stand for {\bfi h}{\it eader} and {\bfi l}{\it ower text}. They will put a +text string +above or below the {\it top} staff in the {\it first} bar of the block where +they are entered. The text string must be on a line of its own, +immediately following the command. The integer is a vertical shift in +\bs{\tt internote}s. + + A {\it title block} with up to three elements can be defined at the +beginning of the first input block. {\tt Tt} signals that the text +{\it on the following line} is to be set as a {\bf t}itle for the whole piece, +and it will be centered. {\tt Tc} similarly indicates a {\bf c}omposer's name, +to be set below the title and right justified. {\tt Ti} likewise stands for +an {\bf i}nstrument name, which will be set above the title, left-justified. +The text for any of these commands can be split over two or more lines +by including \bs\bs~at the location of the line break. + +{\tt Ti} will automatically be invoked by {\bfx scor2prt} when it generates +parts from a score. + +Extra vertical space can be added between the title +block and the top system by appending to {\tt Tt} a one- or two-digit +number representing the space in \bs{\tt internote}s. This only works if +{\tt Tt} is the {\it final} title block element entered. + +The {\tt D} command can be used to enter arbitrary text as described in +section~\ref{dynamics}. + +\subsubsection{Page numbering, centered header text} + + If you want pages to be numbered at the top left or right, place +the command {\tt P} anywhere within the \PMX code that represents the first +page to be numbered (usually the first or second page). +{\tt P} can be followed optionally by the starting +page number and/or by {\tt l} or {\tt r}, the latter overriding the default +locations of odds on the right and evens on the left. \NEW{2.0} +There is also a special option {\tt c} for {\bf c}entered header text. +It must be the {\it last} +option in the {\tt P} command. It will define text to be printed at the top of +every page {\it after the first}. If a blank follows {\tt c}, the default +header text will +be the instrument name entered with the command {\tt Ti} . If any non-blank +character except {\tt "} follows {\tt c}, the header text will start with that +character and end at the next blank. If {\tt "} follows {\tt c}, the +header text will be everything between that and the next {\tt "} (this +permits headers containing spaces). The {\tt P} command and its options +will be ignored when making parts from a score (since page numbering +will usually be different in the score than in the parts), but page +numbering (and centered headers) for parts can be still be initiated +independently, for example with {\tt \%!P2} or {\tt \%1P2r} (see +section~\ref{scor2prt}). + +\subsubsection{Overriding certain defaults, or +getting the most from \PMXX}\label{Acommands} + +Understanding this section is important if you want to get the most out +of \PMXX. In many +cases the switches described here represent subtle but significant +improvements that have come along since \PMX was initially developed. Rather +than changing the defaults, they are treated as optional in order not to +upset the layout of older scores. For example, virtually every new score I +create begins with at least {\tt Abple}. + +As you may have guessed, it is the command {\tt A} that can be used to +override a grab-bag of default settings. The available options affect a +wide range of \PMX features: sizes +and interpretation of accidentals, +dot positions, space before the first note of every bar, space between staves, +slur package selection, vertical positioning of Type K postscript +slurs, line-breaking Type-K slurs, curvature of Type-K slurs, +naming of parts, vertical positioning of rests in 2-voice staves\NEW{2.6}, +brackets for non-beamed xtuplets, and inputting so-called +{\it normal include} files. + +{\bf Size of Accidentals.} +{\tt b} makes all accidentals +{\bf b}ig, {\tt s} makes them all {\bf s}mall. By default, big ones are used +unless unaltered spacing doesn't provide enough space. Thus the default +behavior may cause a mixture of big and small accidentals, and in fact is not +recommended. + +{\bf Relative accidentals.}\label{ArDirective} +If transposing, then the {\bf r}elative accidental convention must be used, +indicated by {\tt r}. This changes the way you enter accidentals. With +relative accidentals, the note options {\tt s}, {\tt f}, {\tt n} take on +unconventional meanings, now respectively signaling that a note should be raised +a half step, lowered a half step, or left alone {\it relative to the pitch +it would have according to the key signature}. So for example, with {\tt Ar}, +in the key of B flat major the note command {\tt bs} would cause a B natural +to be printed. By contrast, the default is +the normal, absolute convention, where the indicated pitch alteration is +relative to what the pitch would be if there were no key signature. + +{\bf Vertical position of dots.} +If there are staves with two voices, {\tt d} causes dots in the +lower one to appear on or {\it below} center, in contrast with the default. + +{\bf Gap at start of bar.} +Use {\tt a} followed by a +decimal number to override the default setting for \bs{\tt afterruleskip}, +the space before the first note in a bar. The default in \PMX is +{\tt 1}\bs{\tt elemskip}, 20 percent smaller than \MusiXTeX{}'s. + +{\bf Space between staves within a system.} +If \PMXX's vertical spacing between staves within a system is not pleasing, use {\tt I} or +{\tt i} , followed by a decimal number, to apply a scale factor to +\bs{\tt interstaff} . {\tt I} +affects all pages, {\tt i} only the current one. Shrinking the space between +staves within each system will cause the space between systems to increase, and +conversely. These options have no effect if there is only one staff per system. + +{\bf Equal space between systems.} +\label{AeDirective}\MusiXTeX~normally draws a virtual box around each system +and inserts equal vertical space between boxes. \NEW{2.3} +When objects protrude above the top staff in a system or +below the bottom one, this can lead to unequal spacing between the top staff +line in one system and the next. If you prefer that the vertical spacing +between the staves of consecutive systems be constant for the whole page, +use the {\tt e} option of the {\tt A} command. One side benefit of {\tt Ae} +is that it will prevent systems from spilling over onto extra pages, +regardless of how many systems are put on the page. When using this option, +you may occasionally want to force more vertical space between certain systems. +There is a \TeX~macro +{\tt \bs spread} that can be inserted anywhere in the system before the +desired wider gap. It has one argument, the desired extra space in +{\tt\bs internote}s. + +{\bf Stop grouping systems at top in sparse pages.} +Another \NEW{2.4}\ command affecting vertical spacing is the {\tt v} +option of the {\tt A} command (for +{\bf v}ertical). \PMX normally spreads staves +vertically over a full page, unless the white space becomes excessive, +in which case it groups all staves near the top of the page. Entering +{\tt Av} will suppress this grouping near the top, and ensure that +systems will always be spread vertically regardless of how much white +space is left. It is a toggle; the second time it is issued, the +behavior reverts to the default. + +{\bf Make some staves smaller.} +The {\tt S} +option to the {\tt A} command\NEW{2.7} allows you to specify a +different size for selected staves and their notes compared to the +global value set in the setup data. It is followed by exactly {\tt noinst} +characters, one for each instrument, selected from +{\tt 0}, {\tt -}, {\tt s}, or {\tt t} for +normal, small, small, or tiny sizes respectively. + +{\bf Postscript slurs.} +The \label{ApDirective}\NEW{2.4} command {\tt Ap} activates Type K +{\bf p}ostscript slurs. To use this +you must have {\tt musixps.tex} somewhere that \TeX~can find it, and +{\tt psslurs.pro} somewhere that {\bfx dvips} can find it. +If these files happen to be missing from your \TeX~distribution, they +can be found +\href{http://www.icking-music-archive.org/software/musixtex/musixtex.zip} +{\underline{here}}. +Several suboptions affecting Type K +postscript slurs are described here and in the following paragraphs. First, +by default these slurs and ties will not have their vertical positioning tweaked +to avoid tangencies with staff lines. To activate this type of adjustment, +use one of the suboptions {\tt +s} or {\tt +t} for +slurs or ties respectively. +(For example, {\tt Ap+s}). Be +warned that this may alter the endpoint positions from what one would normally +expect. To deactivate the adjustment, use the same command but with {\tt -} . +Another suboption of {\tt Ap} affects line-breaking slurs. Normally a full tie +is drawn at the start of the second line. +However, the suboption {\tt Ap+h} causes the use of +{\it{\bfi h}alfties} for the second part, which are flattened at their +left-hand end, and require the +special font {\tt mxsk} provided with the Type K postscript slur distribution. +It may be cancelled with {\tt Ap-h} . + +The \NEW{2.5} suboption {\tt l} (e.g. {\tt Apl}~) activates some other tweaks +and tweaking capabilities for line-breaking Type K slurs and ties. It +automatically tweaks the +horizontal positions of the end point of the first segment and the start of the +second, uses a normal tie character for both segments of a tie, and enables +further tweaking of the horizontal and vertical positions of internal endpoints +on a case-by-case basis, using options in the initial slur or tie command (see +section~\ref{lbslurs}, and the end of the fourth system in the example file +{\tt barsant.pmx}). + +Another pair of \NEW{2.5}suboptions to {\tt Ap} affects the default curvature of +Type-K postscript slurs. {\tt Ap+c} and {\tt Ap-c} will respectively increase or +decrease the default curvature of all slurs to the next level in the sequence +{\tt f, n, h, H, HH} . (Here {\tt n} stands for {\bf n}ormal.) Several levels +may be traversed by repeating the suboption, e.g., {\tt Ap+c+c} increases the +default curvature by two levels. If you try to +go outside the allowable range, a warning will be issued, the curvature will be +set to +{\tt f} or {\tt HH} , and processing will continue. See section~\ref{slurs} for +further details. + +If \NEW{2.5} your score contains Type K slurs and if you use a program such as +{\bf dviselec} to extract single pages +from a {\tt .dvi} file, you should use the suboption {\tt h} (e.g. +{\tt Aph}~) . This will cause the header file {\tt psslurs.pro} to be written +into the postscript file at the top of of every page. + +{\bf Vertical rest positioning in keyboard scores.} +The\NEW{2.6} option {\tt AK} activates special rules for vertical positioning of rests in +two-voice staves. By way of background, without this option, rests in two-voice +staves have default positions based on a simple rule that is not +context-sensitive: those in the lower voice (the one before {\tt//}) are +4\bs{\tt internote}s below their single-voice default positions, and those in +the upper line are 2\bs{\tt internote}s above the single-voice default. In contrast, the +option {\tt AK} invokes a set of context-sensitive rules to set the default +position. The baseline rule is to align the rest in a horizontal line with the +next following note in the same bar. If there is no following note in the bar, +then it is aligned with the next prior note. If there are simulataneous rests +in both voices, the old rule is applied. When the {\tt AK} option is in force, +it only affects places where there are two voices in a staff. It may be toggled +on and off at the beginning of any input block, using just {\tt AK}. When the +option is in effect, any user-defined tweaks on the height of a rest will +supersede the option for that particular rest, i.e., the tweak will be applied +relative to the single-voice default position. When {\tt AK} is in effect, the +option {\tt L} in a rest command will cause the vertical position of that rest +to be based on the {\it preceding} note, rather than the following one as is +the default. + +{\bf Names of \PMX files for parts.} +The \label{ANDirective}option {\tt N} to the {\tt A} command allows you to specify +arbitrary names for the part files generated by +{\bfx scor2prt}. Follow {\tt AN} with the part number and the new file base name in double +quotes. Immediately follow this with any number of additional part numbers and +alternate file base names in quotes. When part files are generated, {\tt .pmx} will be +appended to the requested base name. + +{\bf Gapped bracket for nonbeamed xtuplets.} +Non-beamed \label{ATDirective}\NEW{2.5}xtuplets will normally be printed with +a bracket above or below, and +a number above or below that. If you would like this number instead to be +positioned within a gap in the bracket itself, enter {\tt AT} .You must have +{\tt tuplet.tex} available to your \TeX~processor. If missing, this file +can be found +\href{http://www.icking-music-archive.org/software/musixtex/musixtex.zip} +{\underline{here}}. + +{\bf ``Include'' file.} +\PMX commands \NEW{2.5}in an external file can be included at the start of any input +block by designating the file as a {\it normal include} file, using the +command {\tt AR}[{\it filename}] . See section~\ref{ARDirective} for details. + +{\bf Positioning printed pages.} +For \NEW{2.7} printing on {\bf l}etter or a{\bf 4} paper, the command {\tt Acl} or +{\tt Ac4} will set the margins +of the printed area so it will be properly centered with no further +adjustments needed when running {\bfx dvips}. + +\subsubsection{Extra hardspace, horizontal shifts} \label{hardspace} + + Despite the author's best intentions to relieve you of the chore +of adjusting {\it any} horizontal spacing by hand, there may be some occasions +where you +will want to do it. A command starting with {\tt X} initiates one of two +types of horizontal adjustment: A {\it shift} moves one or more +characters but does not affect any other spacing anywhere; a +{\it hardspace} inserts a fixed amount of space at a particular time and +affects the horizontal positions of everything in all staves in the system. +If the command includes {\tt S}, it is a {\bfi s}{\it ingle} shift and affects +only the next note or rest. If it includes a {\tt :} it either starts or +terminates a {\it group} shift. +All {\tt X} commands except group shift terminations +must include a decimal number for the size of the offset in notehead widths. +If the number is immediately followed by +{\tt p}, then the number represents points, otherwise, notehead widths. +If there is no such number but there is a {\tt :} the command +signals a group shift termination. +Group-shift commands must occur in +start/terminate pairs, and group shifts cannot extend across a bar line. + +An {\tt X} command containing neither {\tt S} nor {\tt :} is +automatically a hardspace. + +Because horizontal spacing in parts will usually differ from that in the +score, by default the hardspace command will {\it not} be copied into parts +by {\bfx scor2prt}; however the shift commands will be copied. +These behaviors can be overridden using the methods to be described in +section~\ref{scor2prt}, Alternatively, \NEW{1.42} to help keep \PMX score +files neat +and readable, the character {\tt B} can be used within the {\tt X} command +to signify that it applies to {\bf b}oth score and part, or {\tt P} for +{\bf p}art only. + +\subsubsection{Minimum spacing between notes in crowded systems} + + \PMX does some special, complex analysis to adjust horizontal spacing +in crowded systems. By default, the minimum space between consecutive +noteheads is 0.3 notehead widths. In very special situations you may want to +change 0.3 to some other fraction. To do so, enter {\tt W. }(decimal point is required) + followed by {\tt 1}-{\tt 9} to represent the number +of tenths of a notehead width to be used as the minimum spacing. Use of this option +is demonstrated in the example file {\tt barsant.pmx}. + +\subsubsection{Page size} + + The default page size is 740 by 524 pt (10.3 by 7.3 in). To change +the height or width, use the special commands {\tt h}[{\it n}][{\it u}] or +{\tt w}[{\it n}][{\it u}] at +the beginning of the first input block. Here {\it n} is a decimal number +for the new dimension and {\it u} defines the units; {\tt i} for inches, {\tt m} for +millimeters, and {\tt p} or nothing for points. This command can be used +together with {\tt \%\%} or {\tt \%!} +(see section~\ref{scor2prt}) to give the parts made by +{\bfx scor2prt} different page sizes than the parent score. + +\subsubsection{Line, page, and movement breaks} \label{movbrk} + + It is possible to force line, page, or movement breaks anywhere. +For a line break, just enter {\tt L}[{\it n}] at +the start of an input block (in the first voice only), and the {\it n}-th +system will start there. To start page {\it m} at line {\it n}, enter +{\tt L}[{\it n}]{\tt P}[{\it m}]. You can't force a page break without +first forcing a line break. + + To force a movement break, you must first force a line break as above, +then enter {\tt M}. If a page break also occurs here, the {\tt P} must precede +the {\tt M}. Options following {\tt M} are {\tt +}[{\it integer}] to insert +vertical space in \bs{\tt internote}s before the break, +{\tt i}[{\it decimal number}] to reset the first-line indentation as a fraction +of the line width, and {\tt c}\NEW{1.41} to {\bf c}ontinue bar numbering rather +than resetting the bar number to 0. \NEW{1.4}Also, to change the {\bf n}umber +of instruments, +enter {\tt n}[{\it integer}], then the number of each instrument in their new +order, then a clef-designating character for each staff of each instrument. +(An instrument's number is simply its position in the original sequence.) +There can never be more than the original number of instruments. In this +instance, \NEW{2.5}two-digit instrument numbers must be preceded with +{\tt :} (colon). If you want to start with some number of instruments and +later increase it, you'll need to insert +a dummy page at the beginning with the full set of instruments, then start the +second page with a movement break and decrease the number there. + +Another\NEW{1.4} option after {\tt M} is {\tt r+} or {\tt r-}, which either +forces or +suppresses {\bf r}eprinting the instrument names. The default is to print +them if the number of instruments changes, but otherwise not. + + Immediately after a movement break, any desired meter changes, +key changes, or text can be entered in the normal way. + +\subsubsection{Fractional bars} + + Often if a piece starts with a pickup, the last bar may not be +complete. In such cases, it is usually possible to +place the last bar in an input block by itself, headed by a {\it blind} meter +change. +For example, if the meter had been 4/4 and there was a quarter note +pickup, leaving 3 beats in the last bar, the last bar might be coded +{\tt m3400 cd24 /}. + +\subsubsection{Stem direction of bass notes} + + By default \PMX makes stems go up for middle-line D's in bass +clef, but down for notes on the middle line of all other clefs. If +you want middle-line bass-clef notes also to have downward stems by default, +enter a {\tt B} near the beginning of the file. + +\subsection{Putting {\TeX} Commands into the {\PMX}File } \label{LitTeX} + + There are five ways to enter \TeX ~commands into the {\tt .pmx} file. +Four of +them are {\it in-line}, where the commands are entered directly; the fifth +is by way of an external file. + + The four categories of in-line \TeX~strings +differ mainly in where they will appear in the {\tt .tex} file. +(A \TeX\ {\it string} consists of a starting character, a sequence of +\TeX~commands, and a terminal character). +In the {\tt .pmx} file, +only type 4 \TeX~strings may wrap over line breaks. All in-line \TeX\ must +adhere to the 128-character limit per line, but each line can have more than +one \TeX\ command. +Type 1 begins with a single \bs\ and will appear in the {\tt .tex} file +right before the \TeX +~command for the next note or rest in the {\tt .pmx} file. Multiple +type 1 strings associated with the same note or rest are allowed, although +the total length may not exceed 128 characters (so there is generally no +reason not to combine all \TeX\ commands for a single note into a single +type 1 string). + +A type 2 string begins with \bs\bs\ +and will appear near the top of the {\tt .tex} file, right before +\bs{\tt startmuflex}, regardless of where it appears in the {\tt .pmx} file. +A type 3 string starts with \bs\bs\bs\ and will appear right before the +{\tt\bs xbar} +or {\tt \bs alaligne} at the beginning of the current input block, before the +first barline of the block. While individual type 2 and 3 strings may not wrap +over line breaks in the {\tt .pmx} file, strings of like type on consecutive +lines will appear together in the {\tt .tex} file. +Types 1, 2, and 3 strings must end with \bs\ (backslash-space). +This means that they may not contain +the \TeX\ macro \bs\ (backslash-space). Finally, each type 2 or 3 string +should be isolated on a line of its own, and should be started in column 1. + +Type four permits multiple +lines of arbitrary text to be entered at the top of the {\tt .pmx} file; +they will be transferred verbatim to the top of the {\tt .tex} file. Type +four is initiated with {\tt ---} alone as the top line of the {\tt .pmx} +file. Then follows any text on any number of lines, until the next line +starting with {\tt ---} terminates the block to be transferred. + +The only other distinction among the types of in-line \TeX\ strings arises when +{\bfx scor2prt} is used to make separate parts +(see section~\ref{scor2prt}): +types 2-4 will be copied into all parts, while type 1 only goes into its +original part. + +If you should want to enter a type-1 (note-based) string longer than +128 characters, you could use a series of type-2 or -3 strings to define +a \TeX\ macro containing the desired commands. + + \PMX provides one further option for entering an unlimited set of +\TeX ~commands +just before \bs{\tt startmuflex}, and before any Type 2 in-line \TeX ~strings. +Simply put the commands into a text file named [{\it basename}]{\tt .mod} +in the texinput directory. It will then automatically be +entered with an \bs{\tt input} command. This feature is retained mainly for +backward compatibility; it has been essentially replaced by the various options +for in-line \TeX ~strings. + +\subsection{Figured Bass} + + Figure commands are entered {\it after} their associated note commands. +They only work in the first (lowest) voice, and in any one other voice\NEW{2.6}. +Enter the characters as +they would appear from top to bottom, and as you might pronounce them, +e.g., {\tt 64} or {\tt 73}. Flats here are {\tt -} (minus), sharps are +{\tt \#}, and +naturals {\tt n}, {\it before} the number (if there is a number) (notice +the characters are different here than in notes). +So for example {\it sharp third} is {\tt \#3}, just a sharp is {\tt \#}, {\it six (over) +flat five} is {\tt 6-5}, and {\it sharp six (over) 4} is {\tt \#64}. +In addition to the symbols just described, the following special symbols +are available: {\specfig 2}, {\specfig 4}, {\specfig 5}, {\specfig 6}, {\specfig 9} . +\NEW{2.6}To use them, you must have the font +\href{http://www.icking-music-archive.org/software/musixtex/add-ons/figbas.zip}{\underline{\tt cmrj}} +in your \TeX~system, and then just put an {\tt s} after the number. + +The program +positions all the figures for each system below the lowest staff of that +system, with their tops aligned, and just low enough to clear the +lowest beam, notehead, or stem that could interfere. If you want a figure to +align horizontally in the second tier, insert the placeholder figure +{\tt\_} (underscore) before the one you want lowered. This is equivalent to +lowering the figure stack by 4 \bs{\tt internote}s. +\NEW{2.6}If you want to {\it raise} the entire stack by an integral number of +\bs{\tt internote}s, append {\tt +} and the number. This can be combined with +the placeholder figure {\tt\_} to provide full control over the vertical +position of the stack. + + Sometimes you may need to enter a figure when there's no bass +note sounding. To do this, just after the most recent bass note enter +{\tt x}, followed by a two single digits (the first is a repeat count; the +second a time value, i.e., {\tt 2,4,8,1,} or {\tt 3}), immediately followed by a figure symbol +as defined in the previous paragraph. This will +offset the figure from the associated note by the specified time +value. For example, if the lowest voice contained {\tt c03 x3465}, there +would be a whole-note c, and 3 quarter notes later a figure 65 below +the staff. + + There is also a {\it continuation} command, a zero followed immediately +by another \NEW{2.4} +unsigned number. This produces a horizontal line under the bass note, starting +just to the left and extending to the right by the given number of +\bs{\tt noteskip}s. The height and length of the line are set by the current +note's level and \bs{\tt noteskip} respectively. These \NEW{2.4} can be mixed in with +other figures to produce vertical stacks. If another figure follows in the +same command, use {\tt:} as a separator. +If \bs{\tt noteskip} changes or a note drops +below the starting level before the line ends, it is possible to trick +\PMX by entering separate {\tt 0}[{\it n}] commands under each consecutive note; \PMX +will automagically join them together at the same height +(thanks to Werner Icking for this idea). + + If there are figured bass commands in a {\tt .pmx} file but +you want them to be ignored, then enter the command {\tt F} at the +beginning of the body of the file. This feature would most often be +used in the form {\tt \%1F} +(see section~\ref{scor2prt}), which makes a +separate bass part with no figures. + + Figured bass commands will not be altered in any way under +transposition. There is no universal set of interpretations of figured bass +symbols, so no automatic transposition is possible. + +\subsection{Macros} + + A \PMX macro is a single command that stands literally for any +any string of characters that may occur in the input file (sorry, no +variables). It may be useful if you need to repeat the same string later. +There is no practical length limit. + +To +{\bfi r}{\it ecord} a macro, type {\tt MR}{\it n} where {\it n} is between +1 and 20. +Everything you then type will be processed normally as well as stored, +until you enter the command {\tt M}. The next time you need to enter the same +string, just type {\tt MP}{\it n} to {\bf p}lay back the macro. + +To just {\bf s}{\it ave} a macro without having \PMX process it as you +enter it, start it with {\tt MS}{\it n}. + +Macros can be redefined at will. \PMX will print a warning whenever this +occurs. + +If you use macros and want to make separate parts, some care is necessary. +{\bfx Scor2prt} will only transfer {\tt MR} macros into the part where they +originated, but will transfer {\tt MS} macros into all parts. + +\subsection{Include Files}\NEW{2.5}\label{ARDirective} +{\it Include} files are separate text files + containing arbitrary (but contextually appropriate) sequences of + valid \PMX commands. By using the techniques described in this section, + the commands in an include file can be inserted at any desired + place in the virtual \PMX file that the code processes. + They will always be syntax-checked. + +There are two types of include files, {\it global} and + {\it normal}. There can only be one global include file and it must be named + {\tt pmx.mod}. If activated, its contents will always be inserted right after + the setup data. + To activate it, two conditions must be met: (1) an environment variable + {\tt PMXMODDIR} must be defined to contain a valid path, ending with {\tt /} or + \bs~; (2) a file named {\tt pmx.mod} must be present in the directory so defined. + If {\tt PMXMODDIR} is not set, or if it is defined but there is no file + {\tt pmx.mod}, then processing will proceed as usual. + + Normal include files + can have any name and do not require any environment variable to be set. + They are activated by the PMX command {\tt AR[{\it filename}]} , placed in the + .pmx file + at the location where the included lines are to go. It will generally + only make sense to place this command at the beginning of an input block. + \PMX will first check + for the file as pointed to by [{\it filename}], which may contain a complete + or partial pathname preceding the actual file name. If [{\it filename}] is not + found, then \PMX will look for {\tt \%PMXMODDIR[{\it filename}]}, i.e., it will check + the directory defined by {\tt PMXMODDIR} if {\tt PMXMODDIR} has been set. However, + it is not necessary to define {\tt PMXMODDIR} to use a + normal include file. There may be any number of normal include files. The same + file may be used multiple times. Include files cannot contain references to + other include files via the {\tt AR} command; if you try to do that + your computer will + explode. The following information regarding all activated include + files will be printed both to the screen and to the .pml file: notice of + opening or closing, echo of the contents, error messages pertaining to syntax + errors in the included \PMX commands, and an error message if \PMX cannot find + a referenced normal include file. In the latter two cases \PMX will stop. + +\subsection{Batch Processing} + +Due \NEW{2.0} to the number of different programs that must be run in sequence +to produce a printed sheet of music with the \MusiXTeX{} system, most users +prefer to use a batch script to control the process. Since batch commands are +platform-dependent we will not provide examples here, but will mention +several \PMX features that can facilitate batch processing. + +First, whenever {\bfx pmxab} terminates due to a syntax +error, the exit code is set to 1. There are various ways of detecting this +with batch commands, then acting accordingly. +\NEW{1.4} Second, {\bfx pmxab} always writes a file +{\tt pmxaerr.dat} containing a single number: 0 if it exited normally, +otherwise the line number in the {\tt .pmx} file where the syntax +error was. With advanced batch programming techniques, this file can be +opened and read, and if there was an input error, a text editor can be +opened and the input point placed on the line with the error. + +There have been several requests to allow \PMX to keep running even +after it detects an input error. +This has not been done because in many cases any error messages after +the first one would be meaningless, or worse, uncorrected errors could +cause crashes. In any event, all the output from {\bfx pmxab} will be +stored in the log file [{\it jobname}]{\tt.pml}. + +\subsection{Lyrics} + + \PMX has no special provisions for lyrics. One way to include them +is by using the macro package +\href{http://www.icking-music-archive.org/software/musixtex/add-ons/musixlyr21c.zip} +{\underline{\tt musixlyr.tex}} developed +by Rainer Dunker. It introduces lyrics into \TeX\ more easily than with +\MusiXTeX's own facilities. The macros could be +entered as in-line \TeX\ directly into the {\tt .pmx} file, but most would +prefer the convenient interface to {\tt musixlyr} via the +program +\href{http://www.icking-music-archive.org/software/mtx/}{\underline{\bfx M-Tx}} +developed by Dirk Laurie. It is a pre-preprocessor which +produces a {\tt .pmx} file containing the proper in-line \TeX\ commands. +Its input language is similar (but not identical) to \PMX and includes most +\PMX functionality as a subset. + +%\setcounter{secnumdepth}1 +\section{Making Parts from a Score} \label{scor2prt} + + Separate parts can be made by running {\bfx scor2prt} and entering the +basename when prompted. The program will create {\tt noinst} separate +{\tt .pmx} files, one for each instrument. By default the files will be named +[{\it basename}][{\it n}]{\tt .pmx}, where [{\it n}] +is the sequential position of the instrument. If desired, part file names can +be customized with {\tt AN} as described in section~\ref{ANDirective}. + + In this section we describe how to control the layout of the +parts separately from that of the score, but by using commands +that are placed in the {\tt .pmx} file for the score. This eliminates the +need for ever editing the {\tt .pmx} files for the parts separately. You +can make all corrections in the file for the score, and then re-run +{\bfx scor2prt}. + + Normally all lines starting with {\tt \%} in the parent {\tt .pmx} are +transferred into all the parts. However, if a line has {\tt \%\%} in +columns 1-2, both it {\it and the following line} will be ignored when +making parts. If the ignored line contains only {\tt h}~, {\tt l}~, + {\tt Tc}~, {\tt Ti}~, or {\tt Tc} to start, +then one additional line will be ignored. + + Conversely, if a line begins with {\tt \%!} then it will be ignored as +usual in creating the parent {\tt .tex} file, but after stripping the first +2 characters the rest will be put in the {\tt .pmx} file for {\it all} the +parts. + +To enter a line into the score file that is only to be transferred to one part, +begin the line with \NEW{2.6} {\tt\%}{\it h}, where {\it h} is an {\it extended +hexadecimal digit} representing the part number from 1 to 24 +({\tt1,2,...,9,a,b,c,...,n,o}). The first +two characters will then be stripped and the rest transferred to the desired part. +For example, to force a line break to system 15 and a page +break to page 2 in part 11 only, enter {\tt \%bL15P2}. The use of the extended hex +digits {\tt a-o} creates a potential incompatibility with prior versions. +To minimize this, the +character after ``{\tt\%}" will {\it only} be interpreted as a part number if +it represents a number less than or equal to {\tt noinst}; otherwise the entire +line will be treated as an ordinary comment and transferred to all parts as +a comment. + + Although only permitted in the first voice in the score, the +following commands with all their options will automatically be copied +into all parts (unless the preceding line has {\tt \%\%}): + {\tt m, V, R, A, h, w, K}. Literal \TeX\ strings of types 2-4 will also be +copied into all parts, while type 1 will only go into its original part. + +User-defined hardspaces ({\tt X} without {\tt :}) are handled specially. By +default they are not copied into parts. There are two ways to circumvent this. +One way to insert hardspace {\it x} into part +{\it n} is to place in the score, on a line of its own, the command +{\tt\%}[{\it n}]{\tt X}[{\it x}] . The \NEW{1.42} other way is with options +in the {\tt X} command in the score: {\tt B} causes the hardspace to be +used in {\bf b}oth score and parts; {\tt P} puts it into the {\bf p}art but not +the score. + +Instrument-wise \NEW{2.7} transposition commands (see section \ref{transpose}) +are also handled specially. +When {\bfx scor2prt} encounters {\tt Ki}[{\it n}] (for instrument {\it n}) in +the score, it transfers the transposition information (transposition amount and +key signature) for that instrument into +the corresponding part, replacing {\tt Ki} by {\tt K} and keeping only the +information for instrument {\tt n}. + +Lateral shifts ({\tt X}[$\dots$]{\tt :}) will be handled normally, +staying with their original voice. + + By default the total number of systems in each part will be the +same as in the score. If you want to override this, there is a command +{\tt S}[{\it n}] (where {\it n} is the desired number of systems), which +can only appear at +the beginning of the first input block. This can be used after {\tt \%!} +to affect all the parts, or after {\tt \%}[{\it h}] to affect just part {\it h}. + {\bfx Scor2prt} will also +compute how many pages it thinks each part should have, and enter that +in the startup data for that part. If you wish to override that, then +in the {\tt .pmx} file for the score, insert for example {\tt \%3S14P2} to +force the third part to have 14 systems and 2 pages (you cannot override the +number of pages without first overriding the number of systems). + + A \NEW{2.0} musicsize of 20 is the default in all parts. This may be +overridden with the option {\tt m} in the command {\tt S}; e.g., +{\tt \%2S15m16} . + + As already noted, a {\tt P} command for page numbering in the parent +file is ignored when making parts. To initiate page numbering in the +parts, use for example {\tt \%!P} anywhere within the \PMX code representing +the first page of the parts (from \TeX 's standpoint the command must occur +between the beginning and end of the page on which the numbering is to begin). +It \NEW{2.0} will often be useful in this case to use the option {\tt c} , +which by default causes the instrument name to be centered in small type at +the top of every page after the first. + +Note the distinctions among the various usages of {\tt P}: as an option with +{\tt S}, it sets the total number of pages in a part; as an option with +{\tt L}, it forces a page break; and as a command on its own, it controls page +numbering and centered headings. + +MIDI \NEW{2.2} commands, i.e., those starting with {\tt I}, will never be +copied into parts, unless they are in a special comment line as just described. + + One function of {\bfx scor2prt} is to condense consecutive bars of rest +into a single group of special printed characters with a number above it. +The command {\tt rm} defines such a {\bf m}ulti-bar {\bf r}est as described +in section~\ref{MultibarRest}. +{\bfx Scor2prt} will automatically insert {\tt rm} commands into the +{\tt .pmx} files +for the parts where appropriate. However, for this feature to work, +the {\it first} full-bar rest in the sequence {\it must} have its duration +explicitly defined in the parent {\tt .pmx} file, either with a digit or +with {\tt p}. I.e., the feature will not work if the first rest in the +sequence inherits its duration from the previous note. + +Using the special \PMX commands listed in this section, +augmented where needed with literal \TeX ~commands, it is possible to store +{\it all} the information for both the score and the parts in a single +{\tt .pmx} file. This greatly simplifies the editing process, since +both the score and the part can be corrected at once, and parts need not be +re-edited each time they are regenerated from the score. + +\section{Making MIDI Files}\label{MIDI} + +\PMX has an elementary capability to create MIDI files. It is intended mainly +to aid in editing scores, so it does not have advanced facilities one would +want for making musically satisfying sound files. + +As \NEW{2.6} of version 2.6, \PMX can only generate MIDI files for scores with +15 or fewer voices. + +Entering the command {\tt I} before any notes have been entered +will cause a MIDI file [{\it jobname}]{\tt.mid} to be +generated in the current directory. Options may follow, without spaces. They +are defined in the following paragraphs. Multiple +options can be combined in one {\tt I} command. +{\tt I} commands can appear later in the file as well, but only at the start +of an input block. Sometimes the order of the +options matters, determining for example whether or not a user-defined pause +is included inside a macro block. + +{\tt t}{\it x} sets the tempo to {\it x} quarter notes per minute. +Default is 96. You can change tempos as often as you like, but only at the +start of an input block (as with all MIDI commands). + +{\tt i}{\it i1i2...in} assigns MIDI instruments {\it i1,i2,...,in} to the +respective \PMX instruments. The default is harpsichord, of course. If +you use this option, you must specify {\it all} instruments. +Each {\it in} is either +a 2-letter abbreviation or an integer between 1 and 255. Acceptable +abbreviations are listed below. Numbers and pairs of letters may be mixed, +but consecutive pairs of numbers must be separated by {\tt :} (colon) . +This option can only be exercised once per file. +Also, the number of instruments cannot change during a piece. + +The \NEW{2.7} number of arguments following suboption {\tt i}, as well as the next +three described suboptions, must in fact equal the number of {\it instruments}. Before +version 2.7, it was the number of {\it staves} (despite the incorrect +description in the manual!) These numbers may differ and this creates a +backward incompatibility. Hoping this won't cause too much distress, +I've enhanced the real-time error messages. + +{\tt v}{\it i1}:{\it i2}:{\it...}:{\it in} assigns MIDI \NEW{2.3} velocities +to each instrument. The colons are required. Values may range from 1 to 127. +The default is 127. + +{\tt b}{\it i1}:{\it i2}:{\it...}:{\it in} assigns MIDI \NEW{2.3} balances to +each instrument. The colons are required. Values may range from 1 to 128. +The default value is 64, which represents the center. Smaller numbers favor +the left stereo channel; larger ones the right. + +{\tt T} allows transposing any instrument by a selected number of steps \NEW{2.7} + ({\tt\bs internote}s). +It must be followed by exactly {\tt noinst} signed integers representing the +amount of transposition for each instrument in order. In practice it is useful +in two situations (1) To transpose a MIDI output up or down by one octave +(7 {\tt\bs internote}s); and (2) when a transposing instrument is printed +in the transposed key in the score after having issued {\tt Ki}, to undo +the transposition in the MIDI. + +{\tt M} initiates a macro operation. This is used for repeats, da capo's, etc. +Macros must have ID numbers between 1 and 20. Operations are start record +macro {\it i}: {\tt MR}{\it i} ; end recording: {\tt M} ; and playback (insert) +macro {\it i}: {\tt MP}{\it i} . Only one macro can be active at a time, +recording or playing but not both. If you try nesting or overlapping macros, +your computer will become psychotic. + +{\tt p}{\it x} inserts a pause of {\it x} quarter notes. Decimals are +allowed, but will be rounded to the nearest sixteenth note. + +{\tt g}{\it i} sets the MIDI gap to {\it i} MIDI clock tics. This is a silence +inserted at the end of every note, while decreasing the sounding duration +by the same amount. The default is 10, which is 2/3 of a 64th note. + + The MIDI module does not recognize graces, ornaments, repeats, voltas, or +segnos. The only ties that are recognized are those using {\tt s} or {\tt (} +alone, with no explicit ID number. Key signatures, +time signatures (meter) and instrument names will be written into the MIDI file, +the latter as track names. This will have no effect whatsoever on audible +output but will affect on-screen appearance of some MIDI file players +and editors. Location of the \PMX key-change and meter-change commands +relative to MIDI macro delimiters in the source will affect (in the obvious +way) how these data are passed to such programs. + +The MIDI file generator does not yet support changing the number of +instruments in midstream. Doing so will cause unpredictable results. + + The instruments are a subset of ``The General MIDI Instrument +Specification." Of course how they sound depends on your hardware and software. +Instruments not listed below can still be used but must be specified by number. +The numbers listed here are from the 1-128 range; when passed to the MIDI file +they are reduced by one. + +%\def\toc#1#2{\hbox to 3.1in{{#2}\leaderfill{#1}}} +\def\tentry#1#2#3{\hbox to 2in{ +\hbox to .24in{\tt #1\hfill}\hbox to 1.7in{#2 (#3)\hfill}\hss}} + +\null +\hbox to 6.5in{\vbox to 1.7in{ +\tentry{pi}{Acoustic Grand Piano}{1} +\tentry{rh}{Rhodes Piano}{5} +\tentry{ha}{Harpsichord}{7} +\tentry{ct}{Clavinet}{8} +\tentry{ma}{Marimba}{13} +\tentry{or}{Church Organ}{20} +\tentry{gu}{Acoustic Nylon Guitar}{25} +\tentry{ab}{Acoustic Bass}{33} +\tentry{vl}{Violin}{41} +}\hss\vbox to 1.7in{ +\tentry{va}{Viola}{42} +\tentry{vc}{Cello}{43} +\tentry{cb}{Contrabass}{44} +\tentry{vo}{Synth Voice}{55} +\tentry{tr}{Trumpet}{57} +\tentry{tb}{Trombone}{58} +\tentry{tu}{Tuba}{59} +\tentry{fr}{French Horn}{61} +\tentry{so}{Soprano Sax}{65} +}\hss\vbox to 1.7in{ +\tentry{al}{Alto Sax}{66} +\tentry{te}{Tenor Sax}{67} +\tentry{bs}{Baritone Sax}{68} +\tentry{ob}{Oboe}{69} +\tentry{ba}{Bassoon}{71} +\tentry{cl}{Clarinet}{72} +\tentry{fl}{Flute}{74} +\tentry{re}{Recorder}{75} +}} + +\section{Limits} + +For simplicity in writing the program, \PMX has numerous variables with +fixed dimensions. In most cases there are no checks against these limits +(hey, I've got more important things to program), so +occasionally there may be hangups due to exceeding a dimension. +Any of these can potentially be increased by making a request via the +mailing list. However, before making such a +request, try working around the problem by +breaking the input into smaller blocks. + +\subsection{Limits on quantities that a user can control} + +(The user can control the {\it number} of these items, but cannot control +the {\it limit on the maximum number} of them.) + +%\ \ \ \ \ 128 characters per input line. +128 characters per input line. + +24 \NEW{2.6} staves. + +2 voices per staff. + +24 \NEW{2.6} voices per system. + +125 systems. + +600 bars. + +40 forced line breaks. + +10 forced page breaks. + +18 key changes. + +20 pages. + +600 \NEW{2.6} notes per input block. + +15 bars per input block. + +101 slurs per input block. + +74 figures (figured bass) per input block. + +37 grace note groups per input block. + +74 notes in grace note groups per input block. + +52 literal \TeX\ strings per input block. + +6 voltas per input block. + +24 \NEW{2.6} trills per input block. + +62 chordal notes (non-spacing) per input block. + +8 beams per voice per bar. + +40 \NEW{2.5}forced beams per voice per input block. + +10 clef changes per voice per input block. + +24 notes per beam. + +24 notes per xtuplet. + +41 text-dynamic strings per input block.\NEW{2.5} + + +\subsection{Limits not under immediate user control} + +% Need all the spaces because this damn format insists on left-justifying +% first line of *first* paragraph in a section.. +% +\ \ \ \ \ \kern-1pt2000 \bs{\tt notes} groups. + +20 \bs{\tt notes} groups per bar. + +20 inserted standard anti-collision spaces (not xtuplet or end-of-bar) per bar. + +20 inserted anti-collision spaces within xtuplets per bar. + +19 inserted anti-collision end-of-bar hardspaces per system. + +83 inserted anti-collision end-of-bar hardspaces. + +400 inserted standard anti-collision spaces per system. + +100 inserted anti-collision spaces within xtuplets per system. + +1000 inserted standard anti-collision spaces. + +200 inserted anti-collision spaces within xtuplets. + +24576 \NEW{2.2} bytes of MIDI output data per voice. + +\section{Closing Notes} + +\subsection{About the Example Files} + +{\tt most.pmx} contains examples of most of the \PMX commands, and a few +programming tricks, including examples in the last line of beam groups whose +notes vary widely in pitch. The printed +output displays the \PMX commands near to the resulting typeset characters. +It is more +useful to look at the printed output rather than the source file, since the +file is littered with in-line \TeX ~needed to output the text strings +representing the \PMX commands. +{\bfx WARNING:} Do not try to play this music; it could be hazardous. + +{\tt barsant.pmx} contains the first movement of a recorder sonata by the +Italian Francesco Barsanti (1690-1772). It demonstrates many of \PMXX 's +strong points in a ``battlefield'' situation: figured +bass, complex beaming patterns, xtuplets, and +automatically adjusted horizontal and vertical spacing in crowded scores. +In fact, +this single-page score pushes the limits of vertical and horizontal crowding. +To get the final result, it makes subtle adjustments using various available options: +{\tt Ae} for equal space between systems, {\tt AI1.1} to increase the vertical +space between staves in a system, {\tt Apl} to activate postscript slurs and +special treatment of line-breaking slurs/ties (note slur at end of fourth +system), and {\tt W.5} to increase minimum space between noteheads so the 64th +notes don't touch each other. This is also a +good score to try making parts with {\bfx scor2prt}. A special command +{\tt \%2S9} is used to increase the number of systems in the recorder part. + +{\tt mwalmnd.pmx} is an Allemand for harpsichord by the German +Matthias Weckmann +(1616-1674). It uses many techniques peculiar to keyboard scores, most notably +two voices per staff. + +\subsection{A Benign Bug} + + When \TeX 'ing the output of \PMX you will usually get an {\tt Underfull +\bs vbox} message at the end of each page. This is due to my using +\bs{\tt eject} at the end of every page, which automatically spaces the +systems vertically without having to fiddle with \bs{\tt staffbotmarg}. As far +as I know, the +warning is benign, and may be ignored. + +\subsection{Where to Get Help} \label{where} + +The main home of \PMX on the internet is the software section of the +\href{http://icking-music-archive.org}{\underline{Werner Icking Music Archive}}. This +site also links to a mailing list devoted to \MusiXTeX\ and related programs including +\PMX. The denizens of this list are always willing to answer questions about any +aspect of the software. New users are strongly advised to take advantage of this +resource. + +\subsection{Acknowledgments} + + To Daniel Taupin, Ross Mitchell, and Andreas Egler for creating +\MusiXTeX{}; to Olivier Clary for suggesting a crucial modification in +the note-entry scheme; +to my colleague John DiPol (a non-musician!) for the idea of using binary masks +to define beam groupings; +to Joel Hunsberger for unraveling some deep \MusiXTeX~tangles; +to Dirk Laurie +for making \PMX accessible to vocal music by creating {\bfx M-Tx}; +to Stanislav Kneifl and Hiroaki Morimoto for developing the postscript +slur packages; to +Christian Mondrup, Andre Van Ryckeghem, Christof Biebricher, Joerg Anders, +Olivier Vogel, and other denizens of the TeX-music mailing list +for first-class bug-finding and support in responding to queries about +\PMX on the mailing list; to Luigi Cataldi, Olivier Vogel, Christof +Biebricher, and Cornelius Noack for producing translated and enhanced +\PMX tutorials; and to Bob Tennent for maintaining the software section +of the web site. +Finally, I want to mention again the invaluable contributions by +Werner Icking: his exhaustive beta testing, +uncanny bug-finding, continuing encouragement, and promotion +of \PMX right up until his sudden and premature departure from this +earthly realm. + +\end{document} diff --git a/Master/texmf-dist/doc/generic/pmx/pmx2pdf.html b/Master/texmf-dist/doc/generic/pmx/pmx2pdf.html deleted file mode 100644 index a6769ea7e01..00000000000 --- a/Master/texmf-dist/doc/generic/pmx/pmx2pdf.html +++ /dev/null @@ -1,174 +0,0 @@ -Content-type: text/html - -Manpage of pmx2pdf - -

    pmx2pdf

    -Section: (1)
    Updated: 2012-05-15
    Index -Return to Main Contents
    - -

    -  -

    NAME

    - -pmx2pdf - This script processes pmx files and then deletes intermediate files -

    -  -

    SYNOPSIS

    - -[ texlua ] -pmx2pdf - -{ -option - -| -jobname - -[ .pmx ] -} ... -
    -
    The default effect is to process each file using
    -
    pmxab(1) - -
    -(pre-processing pass) -
    etex(1) - -
    -(first pass) -
    musixflx(1) - -
    -(second pass) -
    etex(1) - -
    -(third pass) -
    dvips(1) - -
    -(dvi to Postscript) -
    ps2pdf(1) - -
    -(Postscript to Portable Document Format) -
    followed by removal of intermediate files.
    -

    -

    -  -

    OPTIONS

    - -
    -
    -v - -
    -output program name and version number, and quit -
    -h - -
    -output usage summary and quit -
    -l - -
    -changes the TeX processor to -latex(1) - -or -pdflatex(1) - -
    -p - -
    -changes the TeX processor to -pdfetex(1) - -or -pdflatex(1) - -(and doesn't run -dvips(1) - -and -ps2pdf(1) - -or -dvipdfm(1) - -) -
    -d - -
    -changes the dvi processor to -dvipdfm(1) - -
    -s - -
    -stops processing at the dvi file -
    -t - -
    -stops processing at the tex (and midi) files -
    -i - -
    -retain intermediate files -
    -f - -
    -default processing -
    Options affect processing of all succeeding PMX files unless changed by another option.
    -

    -

    -  -

    SEE ALSO

    - -pmxab(1) - -scor2prt(1) - -etex(1), - -latex(1), - -pdfetex(1), - -pdflatex(1), - -musixflx(1), - -dvipdfm(1), - -dvips(1), - -ps2pdf(1). - -
    - -pmx260.pdf -
    - -pmxccn.pdf -

    -  -

    AUTHOR

    - -This manual page was written by Bob Tennent <rdt@cs.queensu.ca>. -

    - -


    - 

    Index

    -
    -
    NAME
    -
    SYNOPSIS
    -
    OPTIONS
    -
    SEE ALSO
    -
    AUTHOR
    -
    -
    -This document was created by -man2html, -using the manual pages.
    -Time: 09:17:40 GMT, September 14, 2012 - - diff --git a/Master/texmf-dist/doc/generic/pmx/pmxab.html b/Master/texmf-dist/doc/generic/pmx/pmxab.html deleted file mode 100644 index b683ae53634..00000000000 --- a/Master/texmf-dist/doc/generic/pmx/pmxab.html +++ /dev/null @@ -1,61 +0,0 @@ -Content-type: text/html - -Manpage of pmxab - -

    pmxab

    -Section: PMX Manual Page (1)
    Updated: 19 Jan 2013
    Index -Return to Main Contents
    - -  -

    NAME

    - -pmxab - a MusiXTeX preprocessor -  -

    SYNOPSIS

    - -pmxab - -basename[.pmx] - -

    -  -

    DESCRIPTION

    - -pmxab is a preprocessor for MusiXTeX. -It's usually invoked by a frontend pmx2pdf(1). -To use it to its full benefit you should have installed MusiXTeX Version 1.15 -or higher, and TeX itself. -The goal of PMX is to faciliate the efficient typesetting of scores and parts -that have an almost professional appearance. To learn more about typesetting -with PMX, please read the PMX Manual. -

    -When invoked directly, pmxab produces tex output utilizing the MusiXTeX -macro set. -  -

    SEE ALSO

    - -pmx2pdf(1), scor2prt(1), musixtex(1) -  -

    AUTHORS

    - -PMX was written by Don Simons <dsimons@roadrunner.com>. -This manual page was written by Roland Stigge <stigge@antcom.de> for the Debian -project and revised by Bob Tennent <rdt@cs.queensu.ca>. -

    - -


    - 

    Index

    -
    -
    NAME
    -
    SYNOPSIS
    -
    DESCRIPTION
    -
    SEE ALSO
    -
    AUTHORS
    -
    -
    -This document was created by -man2html, -using the manual pages.
    -Time: 09:14:34 GMT, January 19, 2013 - - diff --git a/Master/texmf-dist/doc/generic/pmx/pmxccn/README b/Master/texmf-dist/doc/generic/pmx/pmxccn/README deleted file mode 100644 index 564e64dad5d..00000000000 --- a/Master/texmf-dist/doc/generic/pmx/pmxccn/README +++ /dev/null @@ -1,26 +0,0 @@ -pmxccn is a tutorial for PMX in LaTeX; it describes and -explains PMX up to version 2.618 included. - -The zipped package includes the main program and 2 subfolders: - -\eps : containing music examples referrred to by - the main program, -\addresses : names of persons cited in the program - (in graphical form to avoid abuse). - -Unzip pmxccn.zip in whatever folder you want (preserving -the folder structure), and run - latex pmxccn.tex - - [ as usual, run latex pmxccn - twice to get the cross - reference right, and run - makeindex pmxccn the produce - the index ] - - -LEGAL NOTICE: This software is subject to the usual - GNU/LLPL licence conditions. - - -Sun 2012 Apr 1 /17:56 / Cornelius C. 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This is a heavy magic! If you want something more understandable, -% you will have to write it yourself (if it is possible in a stack-oriented -% language that PostScript is). There are some constants you can -% change and see what happens, but I think the slurs should be almost -% always satisfiable. 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0.1 = very angular, - % 0.3 = very round - /aa exch neg def % what to multiply the height with - % AFTER the max height checking - /y2 ED % y coordinate of the end of the slur - /x2 ED % x coordinate of the end of the slur - /y1 ED % y coordinate of the beginning of the slur - /x1 ED % x coordinate of the beginning of the slur - /yr2 ED - /yr1 ED - /internote ED - /x2 x2 x1 sub def % x2=x2-x1 - /y2 y2 y1 sub def % y2=y2-y1 - /sx y2 x2 div def - /b x2 300 mul Resolution div abs sqrt AR 2 mul def % b=2*sqrt(x2) - b 3 AR lt {/b 3 AR def} if % b=max(b,3) - b m gt {/b m def} if % b=min(b,m) - /aa b aa mul def % aa=aa*b - /s 90 x2 y2 atan sub def % s=90-arctan(x2,y2) slope of the slur - /aa aa s cos div def % aa=aa/cos(s) height of the slur - /x2 s neg cos x2 mul s neg sin y2 mul sub def % x2 = x2*cos(-s) - y2*sin(-s) - % is the length of the slur - e x2 mul maxe gt { /e maxe x2 div def } if - /beta e x2 mul aa neg atan def - beta 90 gt {/beta 180 beta sub def} if - /ax1 e x2 mul def % control points - /ay1 aa def - /ax2 1 e sub x2 mul def - /ay2 aa def - -% check if the starting and endin vector stay in desired quadrants -% => beta < abs(s) - beta s abs lt { - /b aa abs s abs 2 add sin mul s abs 2 add cos div def - s aa mul 0 lt { - s cos 0.75 lt { /ax1 ax1 b 1 s cos sub mul 0.5 mul sub def /ay1 ay1 s cos mul 0.8 mul def } if -% ^^^^ ^^^ ^^^ -% (values to play with) - /ax2 x2 b sub def - } - { - /ax1 b def - s cos 0.75 lt { /ax2 b 1 s cos sub mul 0.5 mul ax2 add def /ay2 ay2 s cos mul 0.8 mul def } if -% ^^^^ ^^^ ^^^ - } ifelse - } if - -% align the slur to the staff lines - - gsave - x1 y1 translate - s rotate -% [1 0 sx 1 0 0] concat - drawseg - gsave - initmatrix - flattenpath - pathbbox - exch pop - sub - /slh ED % in slh we have the height of the whole slur - pop - grestore - - /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def - /slh yr slh internote div aa 0 gt { add } { sub } ifelse 2 div def -% check if the slur gets too close to staff line - /shift 0 def - slh 4.45 lt slh -0.5 gt and { - /slh slh dup truncate sub def - slh 0 lt { /slh 1 slh add def } if - aa 0 gt { /slh 1 slh sub def } if - - % slh now contains the position ot the slur top/bottom in the space - % between the nearest staff lines (from <0,1>), regardless direction - - % slur is too low: - slh 0.45 lt { /shift 0.45 slh sub def } if - % slur is too high, but we can be shift it down: - slh 0.7 gt slh 0.85 lt and { /shift 0.7 slh sub def } if - % slur is too high, must be shifted up: - slh 0.85 ge { /shift 1.45 slh sub def } if - } if - - aa 0 gt { /shift shift neg def } if - - ifadjust 0 eq { - /shift 0 def - } if - - -% and finally draw it... - - grestore - gsave - /linew internote 0.06 mul AR def - linew 4 mul setlinewidth - 1 setlinecap - 0 setlinejoin - ifdash 1 eq - { [internote 8 mul AR internote 5 mul AR] 0 setdash } if - x1 y1 shift neg 2 mul internote mul 4 AR mul add translate - s rotate -% [1 sx 0 1 0 0] concat - -% uncomment this to see the control points -% 5 AR setlinewidth ax1 ay1 moveto 0.1 0 rlineto stroke -% ax2 ay2 moveto 0.1 0 rlineto stroke linew setlinewidth - - drawseg - 1 VS - drawseg - -2 VS - drawseg - x2 20 AR gt { - 3 VS - drawseg - } if - x2 50 AR gt { - -4 VS - drawseg - } if - x2 80 AR gt { - 5 VS - drawseg - } if - stroke - - grestore - - % now some \slurtext code... - - /x1 ax1 ax2 add 2 div def % middle of the slur - /y1 ay1 ay2 add 2 div def - x1 s cos mul y1 s sin mul add neg - y1 s cos mul x1 s sin mul sub - aa 0 lt {1} {0} ifelse - end - - % this is a hack to place the slurtext in the middle of the slur. - % From unknown reasons simple 'ax1 ay1 translate' did not work, - % so we have to overlay some definitions with our own, namely - % 'a', which is originally 'moveto' and 'V' for drawing rules. - % maybe there are some other operations that should be redefined, - % but for almost all cases this will be sufficient. If you find - % anything that won't be typeset at the correct position, let me know... - - temp@xx@dict begin - /dir exch def - /ay1 exch def - /ax1 exch def -} def - -% crescendos -/DC { - /y2 ED - /x2 ED - /y1 ED - /x1 ED - gsave - 1 AR ceiling setlinewidth % line thickness: this results - 1 setlinecap % to exactly 2 pixels in 300 dpi - 1 setlinejoin - x2 y2 10 AR add moveto % the 10's specify wideness of the - x1 y1 lineto % open end of the crescendo, - x2 y2 10 AR sub lineto % similarly the 11's below - stroke - grestore -} def - -% half crescendos -/DHC { - /y2 ED - /x2 ED - /y1 ED - /x1 ED - gsave - 1 AR ceiling setlinewidth - 1 setlinecap - 1 setlinejoin - x2 y2 11 AR add moveto - x1 y1 4 AR add lineto stroke - x1 y1 4 AR sub moveto - x2 y2 11 AR sub lineto - stroke - grestore -} def - -% differenced line - -/DLN { - gsave - GDAR ceiling setlinewidth - GDAR exch GDAR neg rlineto - stroke - grestore -} def - -% sloped line - -/DSLN { - gsave - GDAR ceiling setlinewidth - GDAR exch 1.125 mul neg rotate 0 rlineto - stroke - grestore -} def - -% free line (init & terminate) - -/DFLN { - gsave - GDAR ceiling setlinewidth - CP moveto - lineto - stroke - grestore -} def - -end - - -%%EndProcSet -%%BeginProcSet: texps.pro -%! 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v 3201 1193 a Fe(\007)2812 838 -y - slur@Dict begin CP /S1y1 ED /S1x1 ED /S1hgt (-1.20001pt) GD N /S1brk -S1hgt (2.0pt) GD 1 -1 M M A N /S1lift 0 N /S1alt (100.0pt) GDAR N /S1dir --1 N /S1dash 0 N /S1adj 0 N end - 2812 838 a 2827 812 4 133 v 2789 812 a Fe(\007)p 2896 -795 4 117 v 2858 795 a(\007)p 2964 812 4 133 v 2926 812 -a(\007)3015 828 y - slur@Dict begin (2.0pt) GD S1hgt (0.0pt) GD 1.6 (2.0pt) GD M S1dir -M A S1x1 S1y1 CP (3.20001pt) GDAR S1dir M SB 1 S1dir M 0.17 40 S1dash -S1adj 90 DS /ay1 ay1 (0.0pt) GDAR -10 AR add dir mul add def - 3015 828 a 3015 828 a - end - 3015 828 a 2827 -712 208 16 v 2827 687 V 3033 828 4 150 v -20 w Fe(\007)3064 -845 y(\031)p 3102 845 4 108 v(\007)137 b(\031)p 3103 -745 140 16 v 3239 845 4 108 v(\007)2789 397 y(\007)p -2827 513 4 220 v 116 x(\007)3087 440 y - slur@Dict begin CP /S1y1 ED /S1x1 ED /S1hgt (6.79999pt) GD N /S1brk -S1hgt (2.0pt) GD 1 -1 M M A N /S1lift 0 N /S1alt (140.0pt) GDAR N /S1dir --1 N /S1dash 0 N /S1adj 0 N end - 3087 440 a 3024 -413 a Fe(6)p 3102 413 4 117 v(\007)p 3171 430 4 126 v -3133 430 a(\007)p 3239 447 4 136 v 3201 447 a(\007)3310 -463 y - slur@Dict begin (2.0pt) GD S1hgt (4.0pt) GD 1.6 (2.0pt) GD M S1dir -M A S1x1 S1y1 CP (3.20001pt) GDAR S1dir M SB 1 S1dir M 0.17 40 S1dash -S1adj 90 DS /ay1 ay1 (0.0pt) GDAR -10 AR add dir mul add def - 3310 463 a 3310 463 a - end - 3310 463 a -60 w Fe(4)3102 -322 y(\311)3197 331 y(\311)3102 297 y(\311)3197 307 y(\311)p -3328 463 4 144 v 3290 463 a(\007)3379 1493 y - slur@Dict begin (2.0pt) GD S0hgt (0.0pt) GD 1.6 (2.0pt) GD M S0dir -M A S0x1 S0y1 CP (3.20001pt) GDAR S0dir M SB 1 S0dir M 0.17 40 S0dash -S0adj 90 DS /ay1 ay1 (0.0pt) GDAR -10 AR add dir mul add def - 3379 1493 -a 3379 1493 a - end - 3379 1493 a 3359 1476 a Fe(\031)p 3397 -1476 4 117 v(\007)3497 1493 y(>)3359 1177 y(\031)p 3397 -1177 V(\007)3497 1161 y(>)3319 862 y(4)p 3349 863 60 -4 v 3397 861 4 117 v -1 x(\007)3497 828 y(>)3359 447 -y(\031)p 3397 447 V(\007)3497 496 y(>)p 3635 1494 4 1131 -v 3638 1659 a - slur@Dict begin /pss@rega 0 N /psc@rega 0 N /pst@rega 0 N end - 3638 1659 a eop end -%%Trailer - -userdict /end-hook known{end-hook}if -%%EOF diff --git a/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/JChrBach.eps b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/JChrBach.eps deleted file mode 100644 index 023d172a7b9..00000000000 --- a/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/JChrBach.eps +++ /dev/null @@ -1,807 +0,0 @@ -%% LaTeX2e file `eps/JChrBach.eps' -%% generated by the `filecontents' environment -%% from source `pmxccn' on 2011/07/14. -%% -%!PS-Adobe-3.0 EPSF-3.0 -%%Creator: dvips(k) 5.90a Copyright 2002 Radical Eye Software -%%Title: JChrBach.dvi -%%CreationDate: Fri Oct 10 15:07:30 2003 -%%Pages: 1 -%%PageOrder: Ascend -%%BoundingBox: 23 735 552 769 -%%DocumentFonts: CMR10 TeXMUSIX16-Regular CMBXTI10 -%%EndComments -%DVIPSWebPage: (www.radicaleye.com) -%DVIPSCommandLine: C:\MIKTEX\TEXMF\MIKTEX\BIN\DVIPS.EXE JChrBach.dvi -%DVIPSParameters: dpi=600, compressed -%DVIPSSource: TeX output 2003.10.10:1507 -%%BeginProcSet: texc.pro -%! -/TeXDict 300 dict def TeXDict begin/N{def}def/B{bind def}N/S{exch}N/X{S -N}B/A{dup}B/TR{translate}N/isls false N/vsize 11 72 mul N/hsize 8.5 72 -mul N/landplus90{false}def/@rigin{isls{[0 landplus90{1 -1}{-1 1}ifelse 0 -0 0]concat}if 72 Resolution div 72 VResolution div neg scale isls{ -landplus90{VResolution 72 div vsize mul 0 exch}{Resolution -72 div hsize -mul 0}ifelse TR}if Resolution VResolution vsize -72 div 1 add mul TR[ -matrix currentmatrix{A A round sub abs 0.00001 lt{round}if}forall round -exch round exch]setmatrix}N/@landscape{/isls true N}B/@manualfeed{ -statusdict/manualfeed true put}B/@copies{/#copies X}B/FMat[1 0 0 -1 0 0] -N/FBB[0 0 0 0]N/nn 0 N/IE 0 N/ctr 0 N/df-tail{/nn 8 dict N nn begin -/FontType 3 N/FontMatrix fntrx N/FontBBox FBB N string/base X array -/BitMaps X/BuildChar{CharBuilder}N/Encoding IE N end A{/foo setfont}2 -array copy cvx N load 0 nn put/ctr 0 N[}B/sf 0 N/df{/sf 1 N/fntrx FMat N -df-tail}B/dfs{div/sf X/fntrx[sf 0 0 sf neg 0 0]N df-tail}B/E{pop nn A -definefont setfont}B/Cw{Cd A length 5 sub get}B/Ch{Cd A length 4 sub get -}B/Cx{128 Cd A length 3 sub get sub}B/Cy{Cd A length 2 sub get 127 sub} -B/Cdx{Cd A length 1 sub get}B/Ci{Cd A type/stringtype ne{ctr get/ctr ctr -1 add N}if}B/id 0 N/rw 0 N/rc 0 N/gp 0 N/cp 0 N/G 0 N/CharBuilder{save 3 -1 roll S A/base get 2 index get S/BitMaps get S get/Cd X pop/ctr 0 N Cdx -0 Cx Cy Ch sub Cx Cw add Cy setcachedevice Cw Ch true[1 0 0 -1 -.1 Cx -sub Cy .1 sub]/id Ci N/rw Cw 7 add 8 idiv string N/rc 0 N/gp 0 N/cp 0 N{ -rc 0 ne{rc 1 sub/rc X rw}{G}ifelse}imagemask restore}B/G{{id gp get/gp -gp 1 add N A 18 mod S 18 idiv pl S get exec}loop}B/adv{cp add/cp X}B -/chg{rw cp id gp 4 index getinterval putinterval A gp add/gp X adv}B/nd{ -/cp 0 N rw exit}B/lsh{rw cp 2 copy get A 0 eq{pop 1}{A 255 eq{pop 254}{ -A A add 255 and S 1 and or}ifelse}ifelse put 1 adv}B/rsh{rw cp 2 copy -get A 0 eq{pop 128}{A 255 eq{pop 127}{A 2 idiv S 128 and or}ifelse} -ifelse put 1 adv}B/clr{rw cp 2 index string putinterval adv}B/set{rw cp -fillstr 0 4 index getinterval putinterval adv}B/fillstr 18 string 0 1 17 -{2 copy 255 put pop}for N/pl[{adv 1 chg}{adv 1 chg nd}{1 add chg}{1 add -chg nd}{adv lsh}{adv lsh nd}{adv rsh}{adv rsh nd}{1 add adv}{/rc X nd}{ -1 add set}{1 add clr}{adv 2 chg}{adv 2 chg nd}{pop nd}]A{bind pop} -forall N/D{/cc X A type/stringtype ne{]}if nn/base get cc ctr put nn -/BitMaps get S ctr S sf 1 ne{A A length 1 sub A 2 index S get sf div put -}if put/ctr ctr 1 add N}B/I{cc 1 add D}B/bop{userdict/bop-hook known{ -bop-hook}if/SI save N @rigin 0 0 moveto/V matrix currentmatrix A 1 get A -mul exch 0 get A mul add .99 lt{/QV}{/RV}ifelse load def pop pop}N/eop{ -SI restore userdict/eop-hook known{eop-hook}if showpage}N/@start{ -userdict/start-hook known{start-hook}if pop/VResolution X/Resolution X -1000 div/DVImag X/IE 256 array N 2 string 0 1 255{IE S A 360 add 36 4 -index cvrs cvn put}for pop 65781.76 div/vsize X 65781.76 div/hsize X}N -/p{show}N/RMat[1 0 0 -1 0 0]N/BDot 260 string N/Rx 0 N/Ry 0 N/v{/Ry X -/Rx X V}B/V{}B/RV statusdict begin/product where{pop false[(Display) -(NeXT)(LaserWriter 16/600)]{A length product length le{A length product -exch 0 exch getinterval eq{pop true exit}if}{pop}ifelse}forall}{false} -ifelse end{{gsave TR -.1 .1 TR 1 1 scale Rx Ry false RMat{BDot} -imagemask grestore}}{{gsave TR -.1 .1 TR Rx Ry scale 1 1 false RMat{ -BDot}imagemask grestore}}ifelse B/QV{gsave newpath transform round exch -round exch itransform moveto Rx 0 rlineto 0 Ry neg rlineto Rx neg 0 -rlineto fill grestore}B/a{moveto}B/delta 0 N/tail{A/delta X 0 rmoveto}B -/M{S p delta add tail}B/b{S p tail}B/c{-4 M}B/d{-3 M}B/e{-2 M}B/f{-1 M} -B/g{0 M}B/h{1 M}B/i{2 M}B/j{3 M}B/k{4 M}B/w{0 rmoveto}B/l{p -4 w}B/m{p --3 w}B/n{p -2 w}B/o{p -1 w}B/q{p 1 w}B/r{p 2 w}B/s{p 3 w}B/t{p 4 w}B/x{ -0 S rmoveto}B/y{3 2 roll p a}B/bos{/SS save N}B/eos{SS restore}B end - -%%EndProcSet -%%BeginProcSet: psslurs.pro -% This file can be used instead of psslurs.pro, it is only commented -% and indented. -% -% VERSION: 1.0 -% -% WARNING! This is a heavy magic! If you want something more understandable, -% you will have to write it yourself (if it is possible in a stack-oriented -% language that PostScript is). There are some constants you can -% change and see what happens, but I think the slurs should be almost -% always satisfiable. When not, let me know at: -% standa@hiero.cz -% Also any bug reports and comments are welcomed. -% -% Stanislav Kneifl. - -/slur@Dict 200 dict def - -% this dictionary is for \setslurtext, overriding some dvips's definitions -/temp@xx@dict 4 dict def temp@xx@dict begin - /a { moveto ax1 ay1 rmoveto } def - /V {gsave newpath transform round exch round exch itransform - exch ax1 add exch ay1 add moveto rulex 0 rlineto 0 ruley neg - rlineto rulex neg 0 rlineto fill grestore} def -end - -TeXDict begin -% get dimen from TeX's string ("125pt" -> 125 PS points) -/GD { dup length 2 sub 0 exch getinterval cvr 1.045 mul} def -% get dimen adjusted to Resolution -/GDAR { dup length 2 sub 0 exch getinterval cvr 4 AR mul 1.045 mul} def -% Adjust to Resolution -/AR { Resolution mul 300 div } def -% the distances in dvips's PostScript are resolution dependant! -end - -slur@Dict begin -/CP /currentpoint load def -/ED { exch def } bind def -/AR { Resolution mul 300 div } def % stands for Adjust to Resolution, -/VS { dup /ay1 exch ay1 exch linew mul 4 mul add def /ay2 exch ay2 exch linew mul 4 mul add def } def -/y { 3 2 roll ax1 ay1 rmoveto show moveto } def -/M { mul } def -/A { add } def -/SB { sub } def -/P { pop } def -/DP { dup } def -/R { roll } def - -/drawseg { 0 0 moveto - ax1 ay1 - ax1 0.6 mul ax2 0.4 mul add ay1 0.6 mul ay2 0.4 mul add - ax1 ax2 add 2 div ay1 ay2 add 2 div curveto - ax1 0.4 mul ax2 0.6 mul add ay1 0.4 mul ay2 0.6 mul add - ax2 ay2 - x2 0 curveto } def - -/DS { - AR /maxe ED - /ifadjust ED - /ifdash ED - AR /m ED % max height of the slur - /e ED % "angularity" of the slur; 0.1 = very angular, - % 0.3 = very round - /aa exch neg def % what to multiply the height with - % AFTER the max height checking - /y2 ED % y coordinate of the end of the slur - /x2 ED % x coordinate of the end of the slur - /y1 ED % y coordinate of the beginning of the slur - /x1 ED % x coordinate of the beginning of the slur - /yr2 ED - /yr1 ED - /internote ED - /x2 x2 x1 sub def % x2=x2-x1 - /y2 y2 y1 sub def % y2=y2-y1 - /sx y2 x2 div def - /b x2 300 mul Resolution div abs sqrt AR 2 mul def % b=2*sqrt(x2) - b 3 AR lt {/b 3 AR def} if % b=max(b,3) - b m gt {/b m def} if % b=min(b,m) - /aa b aa mul def % aa=aa*b - /s 90 x2 y2 atan sub def % s=90-arctan(x2,y2) slope of the slur - /aa aa s cos div def % aa=aa/cos(s) height of the slur - /x2 s neg cos x2 mul s neg sin y2 mul sub def % x2 = x2*cos(-s) - y2*sin(-s) - % is the length of the slur - e x2 mul maxe gt { /e maxe x2 div def } if - /beta e x2 mul aa neg atan def - beta 90 gt {/beta 180 beta sub def} if - /ax1 e x2 mul def % control points - /ay1 aa def - /ax2 1 e sub x2 mul def - /ay2 aa def - -% check if the starting and endin vector stay in desired quadrants -% => beta < abs(s) - beta s abs lt { - /b aa abs s abs 2 add sin mul s abs 2 add cos div def - s aa mul 0 lt { - s cos 0.75 lt { /ax1 ax1 b 1 s cos sub mul 0.5 mul sub def /ay1 ay1 s cos mul 0.8 mul def } if -% ^^^^ ^^^ ^^^ -% (values to play with) - /ax2 x2 b sub def - } - { - /ax1 b def - s cos 0.75 lt { /ax2 b 1 s cos sub mul 0.5 mul ax2 add def /ay2 ay2 s cos mul 0.8 mul def } if -% ^^^^ ^^^ ^^^ - } ifelse - } if - -% align the slur to the staff lines - - gsave - x1 y1 translate - s rotate -% [1 0 sx 1 0 0] concat - drawseg - gsave - initmatrix - flattenpath - pathbbox - exch pop - sub - /slh ED % in slh we have the height of the whole slur - pop - grestore - - /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def - /slh yr slh internote div aa 0 gt { add } { sub } ifelse 2 div def -% check if the slur gets too close to staff line - /shift 0 def - slh 4.45 lt slh -0.5 gt and { - /slh slh dup truncate sub def - slh 0 lt { /slh 1 slh add def } if - aa 0 gt { /slh 1 slh sub def } if - - % slh now contains the position ot the slur top/bottom in the space - % between the nearest staff lines (from <0,1>), regardless direction - - % slur is too low: - slh 0.45 lt { /shift 0.45 slh sub def } if - % slur is too high, but we can be shift it down: - slh 0.7 gt slh 0.85 lt and { /shift 0.7 slh sub def } if - % slur is too high, must be shifted up: - slh 0.85 ge { /shift 1.45 slh sub def } if - } if - - aa 0 gt { /shift shift neg def } if - - ifadjust 0 eq { - /shift 0 def - } if - - -% and finally draw it... - - grestore - gsave - /linew internote 0.06 mul AR def - linew 4 mul setlinewidth - 1 setlinecap - 0 setlinejoin - ifdash 1 eq - { [internote 8 mul AR internote 5 mul AR] 0 setdash } if - x1 y1 shift neg 2 mul internote mul 4 AR mul add translate - s rotate -% [1 sx 0 1 0 0] concat - -% uncomment this to see the control points -% 5 AR setlinewidth ax1 ay1 moveto 0.1 0 rlineto stroke -% ax2 ay2 moveto 0.1 0 rlineto stroke linew setlinewidth - - drawseg - 1 VS - drawseg - -2 VS - drawseg - x2 20 AR gt { - 3 VS - drawseg - } if - x2 50 AR gt { - -4 VS - drawseg - } if - x2 80 AR gt { - 5 VS - drawseg - } if - stroke - - grestore - - % now some \slurtext code... - - /x1 ax1 ax2 add 2 div def % middle of the slur - /y1 ay1 ay2 add 2 div def - x1 s cos mul y1 s sin mul add neg - y1 s cos mul x1 s sin mul sub - aa 0 lt {1} {0} ifelse - end - - % this is a hack to place the slurtext in the middle of the slur. - % From unknown reasons simple 'ax1 ay1 translate' did not work, - % so we have to overlay some definitions with our own, namely - % 'a', which is originally 'moveto' and 'V' for drawing rules. - % maybe there are some other operations that should be redefined, - % but for almost all cases this will be sufficient. If you find - % anything that won't be typeset at the correct position, let me know... - - temp@xx@dict begin - /dir exch def - /ay1 exch def - /ax1 exch def -} def - -% crescendos -/DC { - /y2 ED - /x2 ED - /y1 ED - /x1 ED - gsave - 1 AR ceiling setlinewidth % line thickness: this results - 1 setlinecap % to exactly 2 pixels in 300 dpi - 1 setlinejoin - x2 y2 10 AR add moveto % the 10's specify wideness of the - x1 y1 lineto % open end of the crescendo, - x2 y2 10 AR sub lineto % similarly the 11's below - stroke - grestore -} def - -% half crescendos -/DHC { - /y2 ED - /x2 ED - /y1 ED - /x1 ED - gsave - 1 AR ceiling setlinewidth - 1 setlinecap - 1 setlinejoin - x2 y2 11 AR add moveto - x1 y1 4 AR add lineto stroke - x1 y1 4 AR sub moveto - x2 y2 11 AR sub lineto - stroke - grestore -} def - -% differenced line - -/DLN { - gsave - GDAR ceiling setlinewidth - GDAR exch GDAR neg rlineto - stroke - grestore -} def - -% sloped line - -/DSLN { - gsave - GDAR ceiling setlinewidth - GDAR exch 1.125 mul neg rotate 0 rlineto - stroke - grestore -} def - -% free line (init & terminate) - -/DFLN { - gsave - GDAR ceiling setlinewidth - CP moveto - lineto - stroke - grestore -} def - -end - - -%%EndProcSet -%%BeginProcSet: texps.pro -%! 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This is a heavy magic! If you want something more understandable, -% you will have to write it yourself (if it is possible in a stack-oriented -% language that PostScript is). There are some constants you can -% change and see what happens, but I think the slurs should be almost -% always satisfiable. When not, let me know at: -% standa@hiero.cz -% Also any bug reports and comments are welcomed. -% -% Stanislav Kneifl. - -/slur@Dict 200 dict def - -% this dictionary is for \setslurtext, overriding some dvips's definitions -/temp@xx@dict 4 dict def temp@xx@dict begin - /a { moveto ax1 ay1 rmoveto } def - /V {gsave newpath transform round exch round exch itransform - exch ax1 add exch ay1 add moveto rulex 0 rlineto 0 ruley neg - rlineto rulex neg 0 rlineto fill grestore} def -end - -TeXDict begin -% get dimen from TeX's string ("125pt" -> 125 PS points) -/GD { dup length 2 sub 0 exch getinterval cvr 1.045 mul} def -% get dimen adjusted to Resolution -/GDAR { dup length 2 sub 0 exch getinterval cvr 4 AR mul 1.045 mul} def -% Adjust to Resolution -/AR { Resolution mul 300 div } def -% the distances in dvips's PostScript are resolution dependant! -end - -slur@Dict begin -/CP /currentpoint load def -/ED { exch def } bind def -/AR { Resolution mul 300 div } def % stands for Adjust to Resolution, -/VS { dup /ay1 exch ay1 exch linew mul 4 mul add def /ay2 exch ay2 exch linew mul 4 mul add def } def -/y { 3 2 roll ax1 ay1 rmoveto show moveto } def -/M { mul } def -/A { add } def -/SB { sub } def -/P { pop } def -/DP { dup } def -/R { roll } def - -/drawseg { 0 0 moveto - ax1 ay1 - ax1 0.6 mul ax2 0.4 mul add ay1 0.6 mul ay2 0.4 mul add - ax1 ax2 add 2 div ay1 ay2 add 2 div curveto - ax1 0.4 mul ax2 0.6 mul add ay1 0.4 mul ay2 0.6 mul add - ax2 ay2 - x2 0 curveto } def - -/DS { - AR /maxe ED - /ifadjust ED - /ifdash ED - AR /m ED % max height of the slur - /e ED % "angularity" of the slur; 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slur@Dict begin /pss@rega 0 N /psc@rega 0 N /pst@rega 0 N end - 1986 1881 a eop end -%%Trailer - -userdict /end-hook known{end-hook}if -%%EOF diff --git a/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/beams.eps b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/beams.eps deleted file mode 100644 index dbdb012806d..00000000000 --- a/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/beams.eps +++ /dev/null @@ -1,947 +0,0 @@ -%% LaTeX2e file `eps/beams.eps' -%% generated by the `filecontents' environment -%% from source `pmxccn' on 2011/07/14. -%% -%!PS-Adobe-3.0 EPSF-3.0 -%%Creator: dvips(k) 5.90a Copyright 2002 Radical Eye Software -%%Title: beams.dvi -%%CreationDate: Wed Jan 21 13:51:20 2004 -%%Pages: 1 -%%PageOrder: Ascend -%%BoundingBox: 28 596 510 795 -%%DocumentFonts: TeXMUSIX16-Regular CMTI10 CMTI8 CMBX12 -%%EndComments -%DVIPSWebPage: (www.radicaleye.com) -%DVIPSCommandLine: C:\MIKTEX\TEXMF\MIKTEX\BIN\DVIPS.EXE beams.dvi -%DVIPSParameters: dpi=600, compressed -%DVIPSSource: TeX output 2004.01.21:1351 -%%BeginProcSet: texc.pro -%! -/TeXDict 300 dict def TeXDict begin/N{def}def/B{bind def}N/S{exch}N/X{S -N}B/A{dup}B/TR{translate}N/isls false N/vsize 11 72 mul N/hsize 8.5 72 -mul N/landplus90{false}def/@rigin{isls{[0 landplus90{1 -1}{-1 1}ifelse 0 -0 0]concat}if 72 Resolution div 72 VResolution div neg scale isls{ -landplus90{VResolution 72 div vsize mul 0 exch}{Resolution -72 div hsize -mul 0}ifelse TR}if Resolution VResolution vsize -72 div 1 add mul TR[ -matrix currentmatrix{A A round sub abs 0.00001 lt{round}if}forall round -exch round exch]setmatrix}N/@landscape{/isls true N}B/@manualfeed{ -statusdict/manualfeed true put}B/@copies{/#copies X}B/FMat[1 0 0 -1 0 0] -N/FBB[0 0 0 0]N/nn 0 N/IE 0 N/ctr 0 N/df-tail{/nn 8 dict N nn begin -/FontType 3 N/FontMatrix fntrx N/FontBBox FBB N string/base X array -/BitMaps X/BuildChar{CharBuilder}N/Encoding IE N end A{/foo setfont}2 -array copy cvx N load 0 nn put/ctr 0 N[}B/sf 0 N/df{/sf 1 N/fntrx FMat N -df-tail}B/dfs{div/sf X/fntrx[sf 0 0 sf neg 0 0]N df-tail}B/E{pop nn A -definefont setfont}B/Cw{Cd A length 5 sub get}B/Ch{Cd A length 4 sub get -}B/Cx{128 Cd A length 3 sub get sub}B/Cy{Cd A length 2 sub get 127 sub} -B/Cdx{Cd A length 1 sub get}B/Ci{Cd A type/stringtype ne{ctr get/ctr ctr -1 add N}if}B/id 0 N/rw 0 N/rc 0 N/gp 0 N/cp 0 N/G 0 N/CharBuilder{save 3 -1 roll S A/base get 2 index get S/BitMaps get S get/Cd X pop/ctr 0 N Cdx -0 Cx Cy Ch sub Cx Cw add Cy setcachedevice Cw Ch true[1 0 0 -1 -.1 Cx -sub Cy .1 sub]/id Ci N/rw Cw 7 add 8 idiv string N/rc 0 N/gp 0 N/cp 0 N{ -rc 0 ne{rc 1 sub/rc X rw}{G}ifelse}imagemask restore}B/G{{id gp get/gp -gp 1 add N A 18 mod S 18 idiv pl S get exec}loop}B/adv{cp add/cp X}B -/chg{rw cp id gp 4 index getinterval putinterval A gp add/gp X adv}B/nd{ -/cp 0 N rw exit}B/lsh{rw cp 2 copy get A 0 eq{pop 1}{A 255 eq{pop 254}{ -A A add 255 and S 1 and or}ifelse}ifelse put 1 adv}B/rsh{rw cp 2 copy -get A 0 eq{pop 128}{A 255 eq{pop 127}{A 2 idiv S 128 and or}ifelse} -ifelse put 1 adv}B/clr{rw cp 2 index string putinterval adv}B/set{rw cp -fillstr 0 4 index getinterval putinterval adv}B/fillstr 18 string 0 1 17 -{2 copy 255 put pop}for N/pl[{adv 1 chg}{adv 1 chg nd}{1 add chg}{1 add -chg nd}{adv lsh}{adv lsh nd}{adv rsh}{adv rsh nd}{1 add adv}{/rc X nd}{ -1 add set}{1 add clr}{adv 2 chg}{adv 2 chg nd}{pop nd}]A{bind pop} -forall N/D{/cc X A type/stringtype ne{]}if nn/base get cc ctr put nn -/BitMaps get S ctr S sf 1 ne{A A length 1 sub A 2 index S get sf div put -}if put/ctr ctr 1 add N}B/I{cc 1 add D}B/bop{userdict/bop-hook known{ -bop-hook}if/SI save N @rigin 0 0 moveto/V matrix currentmatrix A 1 get A -mul exch 0 get A mul add .99 lt{/QV}{/RV}ifelse load def pop pop}N/eop{ -SI restore userdict/eop-hook known{eop-hook}if showpage}N/@start{ -userdict/start-hook known{start-hook}if pop/VResolution X/Resolution X -1000 div/DVImag X/IE 256 array N 2 string 0 1 255{IE S A 360 add 36 4 -index cvrs cvn put}for pop 65781.76 div/vsize X 65781.76 div/hsize X}N -/p{show}N/RMat[1 0 0 -1 0 0]N/BDot 260 string N/Rx 0 N/Ry 0 N/v{/Ry X -/Rx X V}B/V{}B/RV statusdict begin/product where{pop false[(Display) -(NeXT)(LaserWriter 16/600)]{A length product length le{A length product -exch 0 exch getinterval eq{pop true exit}if}{pop}ifelse}forall}{false} -ifelse end{{gsave TR -.1 .1 TR 1 1 scale Rx Ry false RMat{BDot} -imagemask grestore}}{{gsave TR -.1 .1 TR Rx Ry scale 1 1 false RMat{ -BDot}imagemask grestore}}ifelse B/QV{gsave newpath transform round exch -round exch itransform moveto Rx 0 rlineto 0 Ry neg rlineto Rx neg 0 -rlineto fill grestore}B/a{moveto}B/delta 0 N/tail{A/delta X 0 rmoveto}B -/M{S p delta add tail}B/b{S p tail}B/c{-4 M}B/d{-3 M}B/e{-2 M}B/f{-1 M} -B/g{0 M}B/h{1 M}B/i{2 M}B/j{3 M}B/k{4 M}B/w{0 rmoveto}B/l{p -4 w}B/m{p --3 w}B/n{p -2 w}B/o{p -1 w}B/q{p 1 w}B/r{p 2 w}B/s{p 3 w}B/t{p 4 w}B/x{ -0 S rmoveto}B/y{3 2 roll p a}B/bos{/SS save N}B/eos{SS restore}B end - -%%EndProcSet -%%BeginProcSet: psslurs.pro -% This file can be used instead of psslurs.pro, it is only commented -% and indented. -% -% VERSION: 1.0 -% -% WARNING! This is a heavy magic! If you want something more understandable, -% you will have to write it yourself (if it is possible in a stack-oriented -% language that PostScript is). There are some constants you can -% change and see what happens, but I think the slurs should be almost -% always satisfiable. When not, let me know at: -% standa@hiero.cz -% Also any bug reports and comments are welcomed. -% -% Stanislav Kneifl. - -/slur@Dict 200 dict def - -% this dictionary is for \setslurtext, overriding some dvips's definitions -/temp@xx@dict 4 dict def temp@xx@dict begin - /a { moveto ax1 ay1 rmoveto } def - /V {gsave newpath transform round exch round exch itransform - exch ax1 add exch ay1 add moveto rulex 0 rlineto 0 ruley neg - rlineto rulex neg 0 rlineto fill grestore} def -end - -TeXDict begin -% get dimen from TeX's string ("125pt" -> 125 PS points) -/GD { dup length 2 sub 0 exch getinterval cvr 1.045 mul} def -% get dimen adjusted to Resolution -/GDAR { dup length 2 sub 0 exch getinterval cvr 4 AR mul 1.045 mul} def -% Adjust to Resolution -/AR { Resolution mul 300 div } def -% the distances in dvips's PostScript are resolution dependant! -end - -slur@Dict begin -/CP /currentpoint load def -/ED { exch def } bind def -/AR { Resolution mul 300 div } def % stands for Adjust to Resolution, -/VS { dup /ay1 exch ay1 exch linew mul 4 mul add def /ay2 exch ay2 exch linew mul 4 mul add def } def -/y { 3 2 roll ax1 ay1 rmoveto show moveto } def -/M { mul } def -/A { add } def -/SB { sub } def -/P { pop } def -/DP { dup } def -/R { roll } def - -/drawseg { 0 0 moveto - ax1 ay1 - ax1 0.6 mul ax2 0.4 mul add ay1 0.6 mul ay2 0.4 mul add - ax1 ax2 add 2 div ay1 ay2 add 2 div curveto - ax1 0.4 mul ax2 0.6 mul add ay1 0.4 mul ay2 0.6 mul add - ax2 ay2 - x2 0 curveto } def - -/DS { - AR /maxe ED - /ifadjust ED - /ifdash ED - AR /m ED % max height of the slur - /e ED % "angularity" of the slur; 0.1 = very angular, - % 0.3 = very round - /aa exch neg def % what to multiply the height with - % AFTER the max height checking - /y2 ED % y coordinate of the end of the slur - /x2 ED % x coordinate of the end of the slur - /y1 ED % y coordinate of the beginning of the slur - /x1 ED % x coordinate of the beginning of the slur - /yr2 ED - /yr1 ED - /internote ED - /x2 x2 x1 sub def % x2=x2-x1 - /y2 y2 y1 sub def % y2=y2-y1 - /sx y2 x2 div def - /b x2 300 mul Resolution div abs sqrt AR 2 mul def % b=2*sqrt(x2) - b 3 AR lt {/b 3 AR def} if % b=max(b,3) - b m gt {/b m def} if % b=min(b,m) - /aa b aa mul def % aa=aa*b - /s 90 x2 y2 atan sub def % s=90-arctan(x2,y2) slope of the slur - /aa aa s cos div def % aa=aa/cos(s) height of the slur - /x2 s neg cos x2 mul s neg sin y2 mul sub def % x2 = x2*cos(-s) - y2*sin(-s) - % is the length of the slur - e x2 mul maxe gt { /e maxe x2 div def } if - /beta e x2 mul aa neg atan def - beta 90 gt {/beta 180 beta sub def} if - /ax1 e x2 mul def % control points - /ay1 aa def - /ax2 1 e sub x2 mul def - /ay2 aa def - -% check if the starting and endin vector stay in desired quadrants -% => beta < abs(s) - beta s abs lt { - /b aa abs s abs 2 add sin mul s abs 2 add cos div def - s aa mul 0 lt { - s cos 0.75 lt { /ax1 ax1 b 1 s cos sub mul 0.5 mul sub def /ay1 ay1 s cos mul 0.8 mul def } if -% ^^^^ ^^^ ^^^ -% (values to play with) - /ax2 x2 b sub def - } - { - /ax1 b def - s cos 0.75 lt { /ax2 b 1 s cos sub mul 0.5 mul ax2 add def /ay2 ay2 s cos mul 0.8 mul def } if -% ^^^^ ^^^ ^^^ - } ifelse - } if - -% align the slur to the staff lines - - gsave - x1 y1 translate - s rotate -% [1 0 sx 1 0 0] concat - drawseg - gsave - initmatrix - flattenpath - pathbbox - exch pop - sub - /slh ED % in slh we have the height of the whole slur - pop - grestore - - /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def - /slh yr slh internote div aa 0 gt { add } { sub } ifelse 2 div def -% check if the slur gets too close to staff line - /shift 0 def - slh 4.45 lt slh -0.5 gt and { - /slh slh dup truncate sub def - slh 0 lt { /slh 1 slh add def } if - aa 0 gt { /slh 1 slh sub def } if - - % slh now contains the position ot the slur top/bottom in the space - % between the nearest staff lines (from <0,1>), regardless direction - - % slur is too low: - slh 0.45 lt { /shift 0.45 slh sub def } if - % slur is too high, but we can be shift it down: - slh 0.7 gt slh 0.85 lt and { /shift 0.7 slh sub def } if - % slur is too high, must be shifted up: - slh 0.85 ge { /shift 1.45 slh sub def } if - } if - - aa 0 gt { /shift shift neg def } if - - ifadjust 0 eq { - /shift 0 def - } if - - -% and finally draw it... - - grestore - gsave - /linew internote 0.06 mul AR def - linew 4 mul setlinewidth - 1 setlinecap - 0 setlinejoin - ifdash 1 eq - { [internote 8 mul AR internote 5 mul AR] 0 setdash } if - x1 y1 shift neg 2 mul internote mul 4 AR mul add translate - s rotate -% [1 sx 0 1 0 0] concat - -% uncomment this to see the control points -% 5 AR setlinewidth ax1 ay1 moveto 0.1 0 rlineto stroke -% ax2 ay2 moveto 0.1 0 rlineto stroke linew setlinewidth - - drawseg - 1 VS - drawseg - -2 VS - drawseg - x2 20 AR gt { - 3 VS - drawseg - } if - x2 50 AR gt { - -4 VS - drawseg - } if - x2 80 AR gt { - 5 VS - drawseg - } if - stroke - - grestore - - % now some \slurtext code... - - /x1 ax1 ax2 add 2 div def % middle of the slur - /y1 ay1 ay2 add 2 div def - x1 s cos mul y1 s sin mul add neg - y1 s cos mul x1 s sin mul sub - aa 0 lt {1} {0} ifelse - end - - % this is a hack to place the slurtext in the middle of the slur. - % From unknown reasons simple 'ax1 ay1 translate' did not work, - % so we have to overlay some definitions with our own, namely - % 'a', which is originally 'moveto' and 'V' for drawing rules. - % maybe there are some other operations that should be redefined, - % but for almost all cases this will be sufficient. 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exch -round exch itransform moveto Rx 0 rlineto 0 Ry neg rlineto Rx neg 0 -rlineto fill grestore}B/a{moveto}B/delta 0 N/tail{A/delta X 0 rmoveto}B -/M{S p delta add tail}B/b{S p tail}B/c{-4 M}B/d{-3 M}B/e{-2 M}B/f{-1 M} -B/g{0 M}B/h{1 M}B/i{2 M}B/j{3 M}B/k{4 M}B/w{0 rmoveto}B/l{p -4 w}B/m{p --3 w}B/n{p -2 w}B/o{p -1 w}B/q{p 1 w}B/r{p 2 w}B/s{p 3 w}B/t{p 4 w}B/x{ -0 S rmoveto}B/y{3 2 roll p a}B/bos{/SS save N}B/eos{SS restore}B end - -%%EndProcSet -%%BeginProcSet: psslurs.pro -% This file can be used instead of psslurs.pro, it is only commented -% and indented. -% -% VERSION: 1.0 -% -% WARNING! This is a heavy magic! If you want something more understandable, -% you will have to write it yourself (if it is possible in a stack-oriented -% language that PostScript is). There are some constants you can -% change and see what happens, but I think the slurs should be almost -% always satisfiable. When not, let me know at: -% standa@hiero.cz -% Also any bug reports and comments are welcomed. -% -% Stanislav Kneifl. - -/slur@Dict 200 dict def - -% this dictionary is for \setslurtext, overriding some dvips's definitions -/temp@xx@dict 4 dict def temp@xx@dict begin - /a { moveto ax1 ay1 rmoveto } def - /V {gsave newpath transform round exch round exch itransform - exch ax1 add exch ay1 add moveto rulex 0 rlineto 0 ruley neg - rlineto rulex neg 0 rlineto fill grestore} def -end - -TeXDict begin -% get dimen from TeX's string ("125pt" -> 125 PS points) -/GD { dup length 2 sub 0 exch getinterval cvr 1.045 mul} def -% get dimen adjusted to Resolution -/GDAR { dup length 2 sub 0 exch getinterval cvr 4 AR mul 1.045 mul} def -% Adjust to Resolution -/AR { Resolution mul 300 div } def -% the distances in dvips's PostScript are resolution dependant! -end - -slur@Dict begin -/CP /currentpoint load def -/ED { exch def } bind def -/AR { Resolution mul 300 div } def % stands for Adjust to Resolution, -/VS { dup /ay1 exch ay1 exch linew mul 4 mul add def /ay2 exch ay2 exch linew mul 4 mul add def } def -/y { 3 2 roll ax1 ay1 rmoveto show moveto } def -/M { mul } def -/A { add } def -/SB { sub } def -/P { pop } def -/DP { dup } def -/R { roll } def - -/drawseg { 0 0 moveto - ax1 ay1 - ax1 0.6 mul ax2 0.4 mul add ay1 0.6 mul ay2 0.4 mul add - ax1 ax2 add 2 div ay1 ay2 add 2 div curveto - ax1 0.4 mul ax2 0.6 mul add ay1 0.4 mul ay2 0.6 mul add - ax2 ay2 - x2 0 curveto } def - -/DS { - AR /maxe ED - /ifadjust ED - /ifdash ED - AR /m ED % max height of the slur - /e ED % "angularity" of the slur; 0.1 = very angular, - % 0.3 = very round - /aa exch neg def % what to multiply the height with - % AFTER the max height checking - /y2 ED % y coordinate of the end of the slur - /x2 ED % x coordinate of the end of the slur - /y1 ED % y coordinate of the beginning of the slur - /x1 ED % x coordinate of the beginning of the slur - /yr2 ED - /yr1 ED - /internote ED - /x2 x2 x1 sub def % x2=x2-x1 - /y2 y2 y1 sub def % y2=y2-y1 - /sx y2 x2 div def - /b x2 300 mul Resolution div abs sqrt AR 2 mul def % b=2*sqrt(x2) - b 3 AR lt {/b 3 AR def} if % b=max(b,3) - b m gt {/b m def} if % b=min(b,m) - /aa b aa mul def % aa=aa*b - /s 90 x2 y2 atan sub def % s=90-arctan(x2,y2) slope of the slur - /aa aa s cos div def % aa=aa/cos(s) height of the slur - /x2 s neg cos x2 mul s neg sin y2 mul sub def % x2 = x2*cos(-s) - y2*sin(-s) - % is the length of the slur - e x2 mul maxe gt { /e maxe x2 div def } if - /beta e x2 mul aa neg atan def - beta 90 gt {/beta 180 beta sub def} if - /ax1 e x2 mul def % control points - /ay1 aa def - /ax2 1 e sub x2 mul def - /ay2 aa def - -% check if the starting and endin vector stay in desired quadrants -% => beta < abs(s) - beta s abs lt { - /b aa abs s abs 2 add sin mul s abs 2 add cos div def - s aa mul 0 lt { - s cos 0.75 lt { /ax1 ax1 b 1 s cos sub mul 0.5 mul sub def /ay1 ay1 s cos mul 0.8 mul def } if -% ^^^^ ^^^ ^^^ -% (values to play with) - /ax2 x2 b sub def - } - { - /ax1 b def - s cos 0.75 lt { /ax2 b 1 s cos sub mul 0.5 mul ax2 add def /ay2 ay2 s cos mul 0.8 mul def } if -% ^^^^ ^^^ ^^^ - } ifelse - } if - -% align the slur to the staff lines - - gsave - x1 y1 translate - s rotate -% [1 0 sx 1 0 0] concat - drawseg - gsave - initmatrix - flattenpath - pathbbox - exch pop - sub - /slh ED % in slh we have the height of the whole slur - pop - grestore - - /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def - /slh yr slh internote div aa 0 gt { add } { sub } ifelse 2 div def -% check if the slur gets too close to staff line - /shift 0 def - slh 4.45 lt slh -0.5 gt and { - /slh slh dup truncate sub def - slh 0 lt { /slh 1 slh add def } if - aa 0 gt { /slh 1 slh sub def } if - - % slh now contains the position ot the slur top/bottom in the space - % between the nearest staff lines (from <0,1>), regardless direction - - % slur is too low: - slh 0.45 lt { /shift 0.45 slh sub def } if - % slur is too high, but we can be shift it down: - slh 0.7 gt slh 0.85 lt and { /shift 0.7 slh sub def } if - % slur is too high, must be shifted up: - slh 0.85 ge { /shift 1.45 slh sub def } if - } if - - aa 0 gt { /shift shift neg def } if - - ifadjust 0 eq { - /shift 0 def - } if - - -% and finally draw it... - - grestore - gsave - /linew internote 0.06 mul AR def - linew 4 mul setlinewidth - 1 setlinecap - 0 setlinejoin - ifdash 1 eq - { [internote 8 mul AR internote 5 mul AR] 0 setdash } if - x1 y1 shift neg 2 mul internote mul 4 AR mul add translate - s rotate -% [1 sx 0 1 0 0] concat - -% uncomment this to see the control points -% 5 AR setlinewidth ax1 ay1 moveto 0.1 0 rlineto stroke -% ax2 ay2 moveto 0.1 0 rlineto stroke linew setlinewidth - - drawseg - 1 VS - drawseg - -2 VS - drawseg - x2 20 AR gt { - 3 VS - drawseg - } if - x2 50 AR gt { - -4 VS - drawseg - } if - x2 80 AR gt { - 5 VS - drawseg - } if - stroke - - grestore - - % now some \slurtext code... - - /x1 ax1 ax2 add 2 div def % middle of the slur - /y1 ay1 ay2 add 2 div def - x1 s cos mul y1 s sin mul add neg - y1 s cos mul x1 s sin mul sub - aa 0 lt {1} {0} ifelse - end - - % this is a hack to place the slurtext in the middle of the slur. - % From unknown reasons simple 'ax1 ay1 translate' did not work, - % so we have to overlay some definitions with our own, namely - % 'a', which is originally 'moveto' and 'V' for drawing rules. - % maybe there are some other operations that should be redefined, - % but for almost all cases this will be sufficient. 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slur@Dict begin /pss@rega 0 N /psc@rega 0 N /pst@rega 0 N end - 3638 694 a eop end -%%Trailer - -userdict /end-hook known{end-hook}if -%%EOF diff --git a/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/beethoven1.eps b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/beethoven1.eps deleted file mode 100644 index f09d990c231..00000000000 --- a/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/beethoven1.eps +++ /dev/null @@ -1,993 +0,0 @@ -%% LaTeX2e file `eps/beethoven1.eps' -%% generated by the `filecontents' environment -%% from source `pmxccn' on 2011/07/14. -%% -%!PS-Adobe-3.0 EPSF-3.0 -%%Creator: dvips(k) 5.90a Copyright 2002 Radical Eye Software -%%Title: beethoven1.dvi -%%CreationDate: Wed Feb 18 00:01:35 2004 -%%Pages: 1 -%%PageOrder: Ascend -%%BoundingBox: 28 698 510 792 -%%DocumentFonts: TeXMUSIXSPX-Regular CMR10 TeXMUSIX16-Regular CMBX12 -%%+ CMMI7 -%%EndComments -%DVIPSWebPage: (www.radicaleye.com) -%DVIPSCommandLine: C:\MIKTEX\TEXMF\MIKTEX\BIN\DVIPS.EXE beethoven1.dvi -%DVIPSParameters: dpi=600, compressed -%DVIPSSource: TeX output 2004.02.18:0001 -%%BeginProcSet: texc.pro -%! -/TeXDict 300 dict def TeXDict begin/N{def}def/B{bind def}N/S{exch}N/X{S -N}B/A{dup}B/TR{translate}N/isls false N/vsize 11 72 mul N/hsize 8.5 72 -mul N/landplus90{false}def/@rigin{isls{[0 landplus90{1 -1}{-1 1}ifelse 0 -0 0]concat}if 72 Resolution div 72 VResolution div neg scale isls{ -landplus90{VResolution 72 div vsize mul 0 exch}{Resolution -72 div hsize -mul 0}ifelse TR}if Resolution VResolution vsize -72 div 1 add mul TR[ -matrix currentmatrix{A A round sub abs 0.00001 lt{round}if}forall round -exch round exch]setmatrix}N/@landscape{/isls true N}B/@manualfeed{ -statusdict/manualfeed true put}B/@copies{/#copies X}B/FMat[1 0 0 -1 0 0] -N/FBB[0 0 0 0]N/nn 0 N/IE 0 N/ctr 0 N/df-tail{/nn 8 dict N nn begin -/FontType 3 N/FontMatrix fntrx N/FontBBox FBB N string/base X array -/BitMaps X/BuildChar{CharBuilder}N/Encoding IE N end A{/foo setfont}2 -array copy cvx N load 0 nn put/ctr 0 N[}B/sf 0 N/df{/sf 1 N/fntrx FMat N -df-tail}B/dfs{div/sf X/fntrx[sf 0 0 sf neg 0 0]N df-tail}B/E{pop nn A -definefont setfont}B/Cw{Cd A length 5 sub get}B/Ch{Cd A length 4 sub get -}B/Cx{128 Cd A length 3 sub get sub}B/Cy{Cd A length 2 sub get 127 sub} -B/Cdx{Cd A length 1 sub get}B/Ci{Cd A type/stringtype ne{ctr get/ctr ctr -1 add N}if}B/id 0 N/rw 0 N/rc 0 N/gp 0 N/cp 0 N/G 0 N/CharBuilder{save 3 -1 roll S A/base get 2 index get S/BitMaps get S get/Cd X pop/ctr 0 N Cdx -0 Cx Cy Ch sub Cx Cw add Cy setcachedevice Cw Ch true[1 0 0 -1 -.1 Cx -sub Cy .1 sub]/id Ci N/rw Cw 7 add 8 idiv string N/rc 0 N/gp 0 N/cp 0 N{ -rc 0 ne{rc 1 sub/rc X rw}{G}ifelse}imagemask restore}B/G{{id gp get/gp -gp 1 add N A 18 mod S 18 idiv pl S get exec}loop}B/adv{cp add/cp X}B -/chg{rw cp id gp 4 index getinterval putinterval A gp add/gp X adv}B/nd{ -/cp 0 N rw exit}B/lsh{rw cp 2 copy get A 0 eq{pop 1}{A 255 eq{pop 254}{ -A A add 255 and S 1 and or}ifelse}ifelse put 1 adv}B/rsh{rw cp 2 copy -get A 0 eq{pop 128}{A 255 eq{pop 127}{A 2 idiv S 128 and or}ifelse} -ifelse put 1 adv}B/clr{rw cp 2 index string putinterval adv}B/set{rw cp -fillstr 0 4 index getinterval putinterval adv}B/fillstr 18 string 0 1 17 -{2 copy 255 put pop}for N/pl[{adv 1 chg}{adv 1 chg nd}{1 add chg}{1 add -chg nd}{adv lsh}{adv lsh nd}{adv rsh}{adv rsh nd}{1 add adv}{/rc X nd}{ -1 add set}{1 add clr}{adv 2 chg}{adv 2 chg nd}{pop nd}]A{bind pop} -forall N/D{/cc X A type/stringtype ne{]}if nn/base get cc ctr put nn -/BitMaps get S ctr S sf 1 ne{A A length 1 sub A 2 index S get sf div put -}if put/ctr ctr 1 add N}B/I{cc 1 add D}B/bop{userdict/bop-hook known{ -bop-hook}if/SI save N @rigin 0 0 moveto/V matrix currentmatrix A 1 get A -mul exch 0 get A mul add .99 lt{/QV}{/RV}ifelse load def pop pop}N/eop{ -SI restore userdict/eop-hook known{eop-hook}if showpage}N/@start{ -userdict/start-hook known{start-hook}if pop/VResolution X/Resolution X -1000 div/DVImag X/IE 256 array N 2 string 0 1 255{IE S A 360 add 36 4 -index cvrs cvn put}for pop 65781.76 div/vsize X 65781.76 div/hsize X}N -/p{show}N/RMat[1 0 0 -1 0 0]N/BDot 260 string N/Rx 0 N/Ry 0 N/v{/Ry X -/Rx X V}B/V{}B/RV statusdict begin/product where{pop false[(Display) -(NeXT)(LaserWriter 16/600)]{A length product length le{A length product -exch 0 exch getinterval eq{pop true exit}if}{pop}ifelse}forall}{false} -ifelse end{{gsave TR -.1 .1 TR 1 1 scale Rx Ry false RMat{BDot} -imagemask grestore}}{{gsave TR -.1 .1 TR Rx Ry scale 1 1 false RMat{ -BDot}imagemask grestore}}ifelse B/QV{gsave newpath transform round exch -round exch itransform moveto Rx 0 rlineto 0 Ry neg rlineto Rx neg 0 -rlineto fill grestore}B/a{moveto}B/delta 0 N/tail{A/delta X 0 rmoveto}B -/M{S p delta add tail}B/b{S p tail}B/c{-4 M}B/d{-3 M}B/e{-2 M}B/f{-1 M} -B/g{0 M}B/h{1 M}B/i{2 M}B/j{3 M}B/k{4 M}B/w{0 rmoveto}B/l{p -4 w}B/m{p --3 w}B/n{p -2 w}B/o{p -1 w}B/q{p 1 w}B/r{p 2 w}B/s{p 3 w}B/t{p 4 w}B/x{ -0 S rmoveto}B/y{3 2 roll p a}B/bos{/SS save N}B/eos{SS restore}B end - -%%EndProcSet -%%BeginProcSet: psslurs.pro -% This file can be used instead of psslurs.pro, it is only commented -% and indented. -% -% VERSION: 1.0 -% -% WARNING! This is a heavy magic! If you want something more understandable, -% you will have to write it yourself (if it is possible in a stack-oriented -% language that PostScript is). There are some constants you can -% change and see what happens, but I think the slurs should be almost -% always satisfiable. When not, let me know at: -% standa@hiero.cz -% Also any bug reports and comments are welcomed. -% -% Stanislav Kneifl. - -/slur@Dict 200 dict def - -% this dictionary is for \setslurtext, overriding some dvips's definitions -/temp@xx@dict 4 dict def temp@xx@dict begin - /a { moveto ax1 ay1 rmoveto } def - /V {gsave newpath transform round exch round exch itransform - exch ax1 add exch ay1 add moveto rulex 0 rlineto 0 ruley neg - rlineto rulex neg 0 rlineto fill grestore} def -end - -TeXDict begin -% get dimen from TeX's string ("125pt" -> 125 PS points) -/GD { dup length 2 sub 0 exch getinterval cvr 1.045 mul} def -% get dimen adjusted to Resolution -/GDAR { dup length 2 sub 0 exch getinterval cvr 4 AR mul 1.045 mul} def -% Adjust to Resolution -/AR { Resolution mul 300 div } def -% the distances in dvips's PostScript are resolution dependant! -end - -slur@Dict begin -/CP /currentpoint load def -/ED { exch def } bind def -/AR { Resolution mul 300 div } def % stands for Adjust to Resolution, -/VS { dup /ay1 exch ay1 exch linew mul 4 mul add def /ay2 exch ay2 exch linew mul 4 mul add def } def -/y { 3 2 roll ax1 ay1 rmoveto show moveto } def -/M { mul } def -/A { add } def -/SB { sub } def -/P { pop } def -/DP { dup } def -/R { roll } def - -/drawseg { 0 0 moveto - ax1 ay1 - ax1 0.6 mul ax2 0.4 mul add ay1 0.6 mul ay2 0.4 mul add - ax1 ax2 add 2 div ay1 ay2 add 2 div curveto - ax1 0.4 mul ax2 0.6 mul add ay1 0.4 mul ay2 0.6 mul add - ax2 ay2 - x2 0 curveto } def - -/DS { - AR /maxe ED - /ifadjust ED - /ifdash ED - AR /m ED % max height of the slur - /e ED % "angularity" of the slur; 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This is a heavy magic! If you want something more understandable, -% you will have to write it yourself (if it is possible in a stack-oriented -% language that PostScript is). There are some constants you can -% change and see what happens, but I think the slurs should be almost -% always satisfiable. 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0.1 = very angular, - % 0.3 = very round - /aa exch neg def % what to multiply the height with - % AFTER the max height checking - /y2 ED % y coordinate of the end of the slur - /x2 ED % x coordinate of the end of the slur - /y1 ED % y coordinate of the beginning of the slur - /x1 ED % x coordinate of the beginning of the slur - /yr2 ED - /yr1 ED - /internote ED - /x2 x2 x1 sub def % x2=x2-x1 - /y2 y2 y1 sub def % y2=y2-y1 - /sx y2 x2 div def - /b x2 300 mul Resolution div abs sqrt AR 2 mul def % b=2*sqrt(x2) - b 3 AR lt {/b 3 AR def} if % b=max(b,3) - b m gt {/b m def} if % b=min(b,m) - /aa b aa mul def % aa=aa*b - /s 90 x2 y2 atan sub def % s=90-arctan(x2,y2) slope of the slur - /aa aa s cos div def % aa=aa/cos(s) height of the slur - /x2 s neg cos x2 mul s neg sin y2 mul sub def % x2 = x2*cos(-s) - y2*sin(-s) - % is the length of the slur - e x2 mul maxe gt { /e maxe x2 div def } if - /beta e x2 mul aa neg atan def - beta 90 gt {/beta 180 beta sub def} if - /ax1 e x2 mul def % control points - /ay1 aa def - /ax2 1 e sub x2 mul def - /ay2 aa def - -% check if the starting and endin vector stay in desired quadrants -% => beta < abs(s) - beta s abs lt { - /b aa abs s abs 2 add sin mul s abs 2 add cos div def - s aa mul 0 lt { - s cos 0.75 lt { /ax1 ax1 b 1 s cos sub mul 0.5 mul sub def /ay1 ay1 s cos mul 0.8 mul def } if -% ^^^^ ^^^ ^^^ -% (values to play with) - /ax2 x2 b sub def - } - { - /ax1 b def - s cos 0.75 lt { /ax2 b 1 s cos sub mul 0.5 mul ax2 add def /ay2 ay2 s cos mul 0.8 mul def } if -% ^^^^ ^^^ ^^^ - } ifelse - } if - -% align the slur to the staff lines - - gsave - x1 y1 translate - s rotate -% [1 0 sx 1 0 0] concat - drawseg - gsave - initmatrix - flattenpath - pathbbox - exch pop - sub - /slh ED % in slh we have the height of the whole slur - pop - grestore - - /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def - /slh yr slh internote div aa 0 gt { add } { sub } ifelse 2 div def -% check if the slur gets too close to staff line - /shift 0 def - slh 4.45 lt slh -0.5 gt and { - /slh slh dup truncate sub def - slh 0 lt { /slh 1 slh add def } if - aa 0 gt { /slh 1 slh sub def } if - - % slh now contains the position ot the slur top/bottom in the space - % between the nearest staff lines (from <0,1>), regardless direction - - % slur is too low: - slh 0.45 lt { /shift 0.45 slh sub def } if - % slur is too high, but we can be shift it down: - slh 0.7 gt slh 0.85 lt and { /shift 0.7 slh sub def } if - % slur is too high, must be shifted up: - slh 0.85 ge { /shift 1.45 slh sub def } if - } if - - aa 0 gt { /shift shift neg def } if - - ifadjust 0 eq { - /shift 0 def - } if - - -% and finally draw it... - - grestore - gsave - /linew internote 0.06 mul AR def - linew 4 mul setlinewidth - 1 setlinecap - 0 setlinejoin - ifdash 1 eq - { [internote 8 mul AR internote 5 mul AR] 0 setdash } if - x1 y1 shift neg 2 mul internote mul 4 AR mul add translate - s rotate -% [1 sx 0 1 0 0] concat - -% uncomment this to see the control points -% 5 AR setlinewidth ax1 ay1 moveto 0.1 0 rlineto stroke -% ax2 ay2 moveto 0.1 0 rlineto stroke linew setlinewidth - - drawseg - 1 VS - drawseg - -2 VS - drawseg - x2 20 AR gt { - 3 VS - drawseg - } if - x2 50 AR gt { - -4 VS - drawseg - } if - x2 80 AR gt { - 5 VS - drawseg - } if - stroke - - grestore - - % now some \slurtext code... - - /x1 ax1 ax2 add 2 div def % middle of the slur - /y1 ay1 ay2 add 2 div def - x1 s cos mul y1 s sin mul add neg - y1 s cos mul x1 s sin mul sub - aa 0 lt {1} {0} ifelse - end - - % this is a hack to place the slurtext in the middle of the slur. - % From unknown reasons simple 'ax1 ay1 translate' did not work, - % so we have to overlay some definitions with our own, namely - % 'a', which is originally 'moveto' and 'V' for drawing rules. - % maybe there are some other operations that should be redefined, - % but for almost all cases this will be sufficient. If you find - % anything that won't be typeset at the correct position, let me know... - - temp@xx@dict begin - /dir exch def - /ay1 exch def - /ax1 exch def -} def - -% crescendos -/DC { - /y2 ED - /x2 ED - /y1 ED - /x1 ED - gsave - 1 AR ceiling setlinewidth % line thickness: this results - 1 setlinecap % to exactly 2 pixels in 300 dpi - 1 setlinejoin - x2 y2 10 AR add moveto % the 10's specify wideness of the - x1 y1 lineto % open end of the crescendo, - x2 y2 10 AR sub lineto % similarly the 11's below - stroke - grestore -} def - -% half crescendos -/DHC { - /y2 ED - /x2 ED - /y1 ED - /x1 ED - gsave - 1 AR ceiling setlinewidth - 1 setlinecap - 1 setlinejoin - x2 y2 11 AR add moveto - x1 y1 4 AR add lineto stroke - x1 y1 4 AR sub moveto - x2 y2 11 AR sub lineto - stroke - grestore -} def - -% differenced line - -/DLN { - gsave - GDAR ceiling setlinewidth - GDAR exch GDAR neg rlineto - stroke - grestore -} def - -% sloped line - -/DSLN { - gsave - GDAR ceiling setlinewidth - GDAR exch 1.125 mul neg rotate 0 rlineto - stroke - grestore -} def - -% free line (init & terminate) - -/DFLN { - gsave - GDAR ceiling setlinewidth - CP moveto - lineto - stroke - grestore -} def - -end - - -%%EndProcSet -%%BeginProcSet: texps.pro -%! 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--git a/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/caccini1.eps b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/caccini1.eps deleted file mode 100644 index d9192f6b4a9..00000000000 --- a/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/caccini1.eps +++ /dev/null @@ -1,2030 +0,0 @@ -%% LaTeX2e file `eps/caccini1.eps' -%% generated by the `filecontents' environment -%% from source `pmxccn' on 2011/07/14. -%% -%!PS-Adobe-2.0 EPSF-2.0 -%%BoundingBox: 21 93 556 793 -% EPSF created by ps2eps 1.39 -%%Creator: dvips(k) 5.90a Copyright 2002 Radical Eye Software -%%Title: imp.dvi -%%CreationDate: Fri Sep 13 09:08:44 2002 -%%PageOrder: Ascend -%%DocumentFonts: TeXMUSIXSPX-Regular CMTI10 TeXMUSIX20-Regular -%%+ TeXMUSIX16-Regular CMB10 CMR12 CMR10 CMMI10 CMR9 -%%DocumentPaperSizes: a4 -%%EndComments -%%BeginProlog -save -countdictstack -mark -newpath -/showpage {} def -/setpagedevice {pop} def%%EndProlog -%%Page 1 1 -%DVIPSWebPage: (www.radicaleye.com) -%DVIPSCommandLine: C:\TEXMF\MIKTEX\BIN\DVIPS.EXE -Ptype1 imp -%DVIPSParameters: dpi=2540, compressed -%DVIPSSource: TeX output 2002.09.13:0818 -%! -/TeXDict 300 dict def TeXDict begin/N{def}def/B{bind def}N/S{exch}N/X{S -N}B/A{dup}B/TR{translate}N/isls false N/vsize 11 72 mul N/hsize 8.5 72 -mul N/landplus90{false}def/@rigin{isls{[0 landplus90{1 -1}{-1 1}ifelse 0 -0 0]concat}if 72 Resolution div 72 VResolution div neg scale isls{ -landplus90{VResolution 72 div vsize mul 0 exch}{Resolution -72 div hsize -mul 0}ifelse TR}if Resolution VResolution vsize -72 div 1 add mul TR[ -matrix currentmatrix{A A round sub abs 0.00001 lt{round}if}forall round -exch round exch]setmatrix}N/@landscape{/isls true N}B/@manualfeed{ -statusdict/manualfeed true put}B/@copies{/#copies X}B/FMat[1 0 0 -1 0 0] -N/FBB[0 0 0 0]N/nn 0 N/IEn 0 N/ctr 0 N/df-tail{/nn 8 dict N nn begin -/FontType 3 N/FontMatrix fntrx N/FontBBox FBB N string/base X array -/BitMaps X/BuildChar{CharBuilder}N/Encoding IEn N end A{/foo setfont}2 -array copy cvx N load 0 nn put/ctr 0 N[}B/sf 0 N/df{/sf 1 N/fntrx FMat N -df-tail}B/dfs{div/sf X/fntrx[sf 0 0 sf neg 0 0]N df-tail}B/E{pop nn A -definefont setfont}B/Cw{Cd A length 5 sub get}B/Ch{Cd A length 4 sub get -}B/Cx{128 Cd A length 3 sub get sub}B/Cy{Cd A length 2 sub get 127 sub} -B/Cdx{Cd A length 1 sub get}B/Ci{Cd A type/stringtype ne{ctr get/ctr ctr -1 add N}if}B/id 0 N/rw 0 N/rc 0 N/gp 0 N/cp 0 N/G 0 N/CharBuilder{save 3 -1 roll S A/base get 2 index get S/BitMaps get S get/Cd X pop/ctr 0 N Cdx -0 Cx Cy Ch sub Cx Cw add Cy setcachedevice Cw Ch true[1 0 0 -1 -.1 Cx -sub Cy .1 sub]/id Ci N/rw Cw 7 add 8 idiv string N/rc 0 N/gp 0 N/cp 0 N{ -rc 0 ne{rc 1 sub/rc X rw}{G}ifelse}imagemask restore}B/G{{id gp get/gp -gp 1 add N A 18 mod S 18 idiv pl S get exec}loop}B/adv{cp add/cp X}B -/chg{rw cp id gp 4 index getinterval putinterval A gp add/gp X adv}B/nd{ -/cp 0 N rw exit}B/lsh{rw cp 2 copy get A 0 eq{pop 1}{A 255 eq{pop 254}{ -A A add 255 and S 1 and or}ifelse}ifelse put 1 adv}B/rsh{rw cp 2 copy -get A 0 eq{pop 128}{A 255 eq{pop 127}{A 2 idiv S 128 and or}ifelse} -ifelse put 1 adv}B/clr{rw cp 2 index string putinterval adv}B/set{rw cp -fillstr 0 4 index getinterval putinterval adv}B/fillstr 18 string 0 1 17 -{2 copy 255 put pop}for N/pl[{adv 1 chg}{adv 1 chg nd}{1 add chg}{1 add -chg nd}{adv lsh}{adv lsh nd}{adv rsh}{adv rsh nd}{1 add adv}{/rc X nd}{ -1 add set}{1 add clr}{adv 2 chg}{adv 2 chg nd}{pop nd}]A{bind pop} -forall N/D{/cc X A type/stringtype ne{]}if nn/base get cc ctr put nn -/BitMaps get S ctr S sf 1 ne{A A length 1 sub A 2 index S get sf div put -}if put/ctr ctr 1 add N}B/I{cc 1 add D}B/bop{userdict/bop-hook known{ -bop-hook}if/SI save N @rigin 0 0 moveto/V matrix currentmatrix A 1 get A -mul exch 0 get A mul add .99 lt{/QV}{/RV}ifelse load def pop pop}N/eop{ -SI restore userdict/eop-hook known{eop-hook}if showpage}N/@start{ -userdict/start-hook known{start-hook}if pop/VResolution X/Resolution X -1000 div/DVImag X/IEn 256 array N 2 string 0 1 255{IEn S A 360 add 36 4 -index cvrs cvn put}for pop 65781.76 div/vsize X 65781.76 div/hsize X}N -/p{show}N/RMat[1 0 0 -1 0 0]N/BDot 260 string N/Rx 0 N/Ry 0 N/V{}B/RV/v{ -/Ry X/Rx X V}B statusdict begin/product where{pop false[(Display)(NeXT) -(LaserWriter 16/600)]{A length product length le{A length product exch 0 -exch getinterval eq{pop true exit}if}{pop}ifelse}forall}{false}ifelse -end{{gsave TR -.1 .1 TR 1 1 scale Rx Ry false RMat{BDot}imagemask -grestore}}{{gsave TR -.1 .1 TR Rx Ry scale 1 1 false RMat{BDot} -imagemask grestore}}ifelse B/QV{gsave newpath transform round exch round -exch itransform moveto Rx 0 rlineto 0 Ry neg rlineto Rx neg 0 rlineto -fill grestore}B/a{moveto}B/delta 0 N/tail{A/delta X 0 rmoveto}B/M{S p -delta add tail}B/b{S p tail}B/c{-4 M}B/d{-3 M}B/e{-2 M}B/f{-1 M}B/g{0 M} -B/h{1 M}B/i{2 M}B/j{3 M}B/k{4 M}B/w{0 rmoveto}B/l{p -4 w}B/m{p -3 w}B/n{ -p -2 w}B/o{p -1 w}B/q{p 1 w}B/r{p 2 w}B/s{p 3 w}B/t{p 4 w}B/x{0 S -rmoveto}B/y{3 2 roll p a}B/bos{/SS save N}B/eos{SS restore}B end -% This file can be used instead of psslurs.pro, it is only commented -% and indented. -% -% VERSION: 1.0 -% -% WARNING! This is a heavy magic! If you want something more understandable, -% you will have to write it yourself (if it is possible in a stack-oriented -% language that PostScript is). There are some constants you can -% change and see what happens, but I think the slurs should be almost -% always satisfiable. When not, let me know at: -% standa@hiero.cz -% Also any bug reports and comments are welcomed. -% -% Stanislav Kneifl. -/slur@Dict 200 dict def -% this dictionary is for \setslurtext, overriding some dvips's definitions -/temp@xx@dict 4 dict def temp@xx@dict begin - /a { moveto ax1 ay1 rmoveto } def - /V {gsave newpath transform round exch round exch itransform - exch ax1 add exch ay1 add moveto rulex 0 rlineto 0 ruley neg - rlineto rulex neg 0 rlineto fill grestore} def -end -TeXDict begin -% get dimen from TeX's string ("125pt" -> 125 PS points) -/GD { dup length 2 sub 0 exch getinterval cvr 1.045 mul} def -% get dimen adjusted to Resolution -/GDAR { dup length 2 sub 0 exch getinterval cvr 4 AR mul 1.045 mul} def -% Adjust to Resolution -/AR { Resolution mul 300 div } def -% the distances in dvips's PostScript are resolution dependant! -end -slur@Dict begin -/CP /currentpoint load def -/ED { exch def } bind def -/AR { Resolution mul 300 div } def % stands for Adjust to Resolution, -/VS { dup /ay1 exch ay1 exch linew mul 4 mul add def /ay2 exch ay2 exch linew mul 4 mul add def } def -/y { 3 2 roll ax1 ay1 rmoveto show moveto } def -/M { mul } def -/A { add } def -/SB { sub } def -/P { pop } def -/DP { dup } def -/R { roll } def -/drawseg { 0 0 moveto - ax1 ay1 - ax1 0.6 mul ax2 0.4 mul add ay1 0.6 mul ay2 0.4 mul add - ax1 ax2 add 2 div ay1 ay2 add 2 div curveto - ax1 0.4 mul ax2 0.6 mul add ay1 0.4 mul ay2 0.6 mul add - ax2 ay2 - x2 0 curveto } def -/DS { - AR /maxe ED - /ifadjust ED - /ifdash ED - AR /m ED % max height of the slur - /e ED % "angularity" of the slur; 0.1 = very angular, - % 0.3 = very round - /aa exch neg def % what to multiply the height with - % AFTER the max height checking - /y2 ED % y coordinate of the end of the slur - /x2 ED % x coordinate of the end of the slur - /y1 ED % y coordinate of the beginning of the slur - /x1 ED % x coordinate of the beginning of the slur - /yr2 ED - /yr1 ED - /internote ED - /x2 x2 x1 sub def % x2=x2-x1 - /y2 y2 y1 sub def % y2=y2-y1 - /sx y2 x2 div def - /b x2 300 mul Resolution div abs sqrt AR 2 mul def % b=2*sqrt(x2) - b 3 AR lt {/b 3 AR def} if % b=max(b,3) - b m gt {/b m def} if % b=min(b,m) - /aa b aa mul def % aa=aa*b - /s 90 x2 y2 atan sub def % s=90-arctan(x2,y2) slope of the slur - /aa aa s cos div def % aa=aa/cos(s) height of the slur - /x2 s neg cos x2 mul s neg sin y2 mul sub def % x2 = x2*cos(-s) - y2*sin(-s) - % is the length of the slur - e x2 mul maxe gt { /e maxe x2 div def } if - /beta e x2 mul aa neg atan def - beta 90 gt {/beta 180 beta sub def} if - /ax1 e x2 mul def % control points - /ay1 aa def - /ax2 1 e sub x2 mul def - /ay2 aa def -% check if the starting and endin vector stay in desired quadrants -% => beta < abs(s) - beta s abs lt { - /b aa abs s abs 2 add sin mul s abs 2 add cos div def - s aa mul 0 lt { - s cos 0.75 lt { /ax1 ax1 b 1 s cos sub mul 0.5 mul sub def /ay1 ay1 s cos mul 0.8 mul def } if -% ^^^^ ^^^ ^^^ -% (values to play with) - /ax2 x2 b sub def - } - { - /ax1 b def - s cos 0.75 lt { /ax2 b 1 s cos sub mul 0.5 mul ax2 add def /ay2 ay2 s cos mul 0.8 mul def } if -% ^^^^ ^^^ ^^^ - } ifelse - } if -% align the slur to the staff lines - gsave - x1 y1 translate - s rotate -% [1 0 sx 1 0 0] concat - drawseg - gsave - initmatrix - flattenpath - pathbbox - exch pop - sub - /slh ED % in slh we have the height of the whole slur - pop - grestore - /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def - /slh yr slh internote div aa 0 gt { add } { sub } ifelse 2 div def -% check if the slur gets too close to staff line - /shift 0 def - slh 4.45 lt slh -0.5 gt and { - /slh slh dup truncate sub def - slh 0 lt { /slh 1 slh add def } if - aa 0 gt { /slh 1 slh sub def } if - % slh now contains the position ot the slur top/bottom in the space - % between the nearest staff lines (from <0,1>), regardless direction - % slur is too low: - slh 0.45 lt { /shift 0.45 slh sub def } if - % slur is too high, but we can be shift it down: - slh 0.7 gt slh 0.85 lt and { /shift 0.7 slh sub def } if - % slur is too high, must be shifted up: - slh 0.85 ge { /shift 1.45 slh sub def } if - } if - aa 0 gt { /shift shift neg def } if - ifadjust 0 eq { - /shift 0 def - } if -% and finally draw it... - grestore - gsave - /linew internote 0.06 mul AR def - linew 4 mul setlinewidth - 1 setlinecap - 0 setlinejoin - ifdash 1 eq - { [internote 8 mul AR internote 5 mul AR] 0 setdash } if - x1 y1 shift neg 2 mul internote mul 4 AR mul add translate - s rotate -% [1 sx 0 1 0 0] concat -% uncomment this to see the control points -% 5 AR setlinewidth ax1 ay1 moveto 0.1 0 rlineto stroke -% ax2 ay2 moveto 0.1 0 rlineto stroke linew setlinewidth - drawseg - 1 VS - drawseg - -2 VS - drawseg - x2 20 AR gt { - 3 VS - drawseg - } if - x2 50 AR gt { - -4 VS - drawseg - } if - x2 80 AR gt { - 5 VS - drawseg - } if - stroke - grestore - % now some \slurtext code... - /x1 ax1 ax2 add 2 div def % middle of the slur - /y1 ay1 ay2 add 2 div def - x1 s cos mul y1 s sin mul add neg - y1 s cos mul x1 s sin mul sub - aa 0 lt {1} {0} ifelse - end - % this is a hack to place the slurtext in the middle of the slur. - % From unknown reasons simple 'ax1 ay1 translate' did not work, - % so we have to overlay some definitions with our own, namely - % 'a', which is originally 'moveto' and 'V' for drawing rules. - % maybe there are some other operations that should be redefined, - % but for almost all cases this will be sufficient. If you find - % anything that won't be typeset at the correct position, let me know... - temp@xx@dict begin - /dir exch def - /ay1 exch def - /ax1 exch def -} def -% crescendos -/DC { - /y2 ED - /x2 ED - /y1 ED - /x1 ED - gsave - 1 AR ceiling setlinewidth % line thickness: this results - 1 setlinecap % to exactly 2 pixels in 300 dpi - 1 setlinejoin - x2 y2 10 AR add moveto % the 10's specify wideness of the - x1 y1 lineto % open end of the crescendo, - x2 y2 10 AR sub lineto % similarly the 11's below - stroke - grestore -} def -% half crescendos -/DHC { - /y2 ED - /x2 ED - /y1 ED - /x1 ED - gsave - 1 AR ceiling setlinewidth - 1 setlinecap - 1 setlinejoin - x2 y2 11 AR add moveto - x1 y1 4 AR add lineto stroke - x1 y1 4 AR sub moveto - x2 y2 11 AR sub lineto - stroke - grestore -} def -% differenced line -/DLN { - gsave - GDAR ceiling setlinewidth - GDAR exch GDAR neg rlineto - stroke - grestore -} def -% sloped line -/DSLN { - gsave - GDAR ceiling setlinewidth - GDAR exch 1.125 mul neg rotate 0 rlineto - stroke - grestore -} def -% free line (init & terminate) -/DFLN { - gsave - GDAR ceiling setlinewidth - CP moveto - lineto - stroke - grestore -} def -end -%! 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All Rights Reserved. -11 dict begin -/FontInfo 7 dict dup begin -/version (1.0) readonly def -/Notice (Copyright (C) 1997 American Mathematical Society. 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All Rights Reserved. -11 dict begin -/FontInfo 7 dict dup begin -/version (1.00B) readonly def -/Notice (Copyright (C) 1997 American Mathematical Society. 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b(\007)p 11587 11788 15 703 v 11587 -11085 15 1617 v 11587 8062 15 703 v 12038 12227 a(Z)p -12210 11788 15 615 v 12007 11788 a(\010)p 14506 11788 -V 2296 w(\010)p 11838 10328 15 439 v 11839 9890 a Ff(\010)p -14260 10178 254 15 v 14303 10241 a(\010)p 14303 10574 -15 474 v 14304 10101 a(\010)-2298 b(\007)p 12168 10101 -15 843 v 12007 9749 a(\007)p 13112 10178 254 15 v 13155 -10171 a(\007)p 13317 10171 15 843 v 13156 9820 a(\007)p -14464 9890 15 492 v 14303 9890 a(\010)11878 8774 y Fc(dol)p -12006 8325 15 615 v 12007 7711 a Fg(\010)12752 8774 y -Fc(-)811 b(-)406 b(ce,)p 14506 7887 V 14303 7887 a Fg(\007)15468 -8774 y Fc(a)p 15654 8150 15 572 v 15655 8150 a Fg(\()-204 -b(\007)15796 8774 y Fc(-)151 b(mor)p 16466 8150 V 16467 -8150 a Fg(\()-204 b(\007)p 17073 11788 15 703 v 17073 -11085 15 1617 v 17073 8062 15 703 v 17087 11788 a - slur@Dict begin /pss@rega 0 N /psc@rega 0 N /pst@rega 0 N end - 17087 -11788 a -1540 16876 18628 15 v -1540 17052 V -1540 17228 -V -1540 17403 V -1540 17579 V -1540 15259 V -1540 15400 -V -1540 15541 V -1540 15681 V -1540 15822 V -1540 13151 -V -1540 13326 V -1540 13502 V -1540 13678 V -1540 13853 -V -1540 17579 15 4436 v -1628 12836 a Fb(7)-1540 16430 -y Fi(\240)-1540 17045 y Fg(I)-1487 15674 y Ff(G)-1540 -13671 y Fg(G)-960 17396 y(2)-957 15533 y Ff(2)-960 13495 -y Fg(2)-344 18011 y(Z)p -376 17835 15 615 v -375 17220 -a(\010)p -544 16271 15 386 v -543 15885 a Ff(\010)p -418 -15962 254 15 v -417 16103 V -374 16096 a(\010)-374 16026 -y(\000)p -212 16096 15 843 v -373 15744 a(\010\000)-436 -14558 y Fc(ca)p -172 13759 15 615 v -375 13759 a Fg(\007)205 -14558 y Fc(-)310 b(ro,)927 14719 y Fb(^)1160 14558 y -Fc(a)p 836 13759 15 703 v 633 13759 a Fg(\007)p 1337 -13846 15 791 v 1134 13846 a(\007)p 1839 13759 15 703 -v 1636 13759 a(\007)p 836 13230 1513 85 v 836 13098 V -2341 13671 15 616 v 2138 13671 a(\007)p 2843 17484 15 -615 v 2640 17484 a(\007)p 2597 15962 254 15 v 2640 16315 -15 360 v 2641 15955 a Ff(\010)1830 14558 y Fc(-)495 b(mor)p -2843 13583 15 615 v 2640 13583 a Fg(\007)p 3851 17308 -V 3648 17308 a(\007)3647 15815 y Ff(\007)p 3605 15962 -254 15 v 3606 16103 V 3811 16166 15 843 v 3650 16166 -a(\007)3647 14558 y Fc(fe)p 3851 13846 15 703 v 3648 -13846 a Fg(\007)p 4353 13934 15 791 v 4150 13934 a(\007)p -4854 13846 15 703 v 4651 13846 a(\007)p 3851 13318 1513 -85 v 3851 13186 V 5356 13759 15 616 v 5153 13759 a(\007)p -5654 17572 15 703 v 5654 16869 15 1617 v 5654 13846 15 -703 v 6024 18099 a Fa(11)6147 17713 y - slur@Dict begin CP /S0y1 ED /S0x1 ED /S0hgt (-4.00002pt) GD N /S0brk -S0hgt (2.5pt) GD 1 -1 M M A N /S0lift 0 N /S0alt (0.0pt) GDAR N /S0dir --1 N /S0dash 0 N /S0adj 1 N end - 6147 17713 a 6228 -17572 15 615 v 6025 17572 a Fg(\010)7448 18099 y Fa(10)7554 -17572 y - slur@Dict begin (2.5pt) GD S0hgt (0.0pt) GD 1.6 (2.5pt) GD M S0dir -M A S0x1 S0y1 CP (4.00002pt) GDAR S0dir M SB 0.7 S0dir M 0.17 40 S0dash -S0adj 90 DS /ay1 ay1 (0.0pt) GDAR -10 AR add dir mul add def - 7554 17572 a 7554 17572 a - end - 7554 17572 a 7652 17572 -15 615 v -105 w Fg(\010)p 5814 15962 254 15 v 5857 16315 -15 360 v 5858 15955 a Ff(\010)7280 16026 y(6)p 7406 15962 -254 15 v 7449 16359 15 334 v 1 w(\010)p 5982 15962 296 -15 v 5983 16103 V 6026 16166 a(\011)6026 15885 y(\011)4382 -14558 y Fc(-)944 b(-)472 b(li)6024 13671 y Fg(\011)p -8872 17572 15 703 v 8872 16869 15 1617 v 8872 13846 15 -703 v 9242 17308 a(\011)p 9200 15962 296 15 v 9201 16103 -V 9244 16166 a Ff(\011)p 9202 15962 V 9245 15955 a(\011)9242 -15815 y(\011)6898 14558 y Fc(-)1340 b(-)671 b(ce.)9242 -13671 y Fg(\011)p 11257 17572 15 703 v 11257 16869 15 -1617 v 11257 13846 15 703 v 11831 17308 15 615 v 11628 -17308 a(\010)11627 15815 y Ff(\010)p 11585 15962 254 -15 v 11628 16315 15 501 v 11629 15955 a(\010)p 11789 -15674 15 492 v 11628 15674 a(\010)11483 14558 y Fc(T)-29 -b(al)p 11627 14021 15 615 v 11628 13407 a Fg(\007)12491 -14558 y Fc(c)-10 b(he)p 12838 13671 15 572 v 12839 13671 -a Fg(\()-204 b(\007)13169 14558 y Fc(non)p 13550 13671 -V 13551 13671 a Fg(\()g(\007)14090 18011 y(Z)p 14262 -17572 15 615 v 14059 17572 a(\010)p 14016 15962 254 15 -v -1547 x Ff(\010)p 14059 16359 15 474 v 14060 15885 -a(\010)p 14220 15674 15 492 v 14059 15674 a(\010)13914 -14558 y Fc(sp)10 b(e)p 14058 14109 15 615 v 14059 13495 -a Fg(\007)14681 14558 y Fc(-)268 b(ro)p 15066 14198 15 -616 v 15067 13583 a Fg(\007)p 15568 14198 15 703 v 15569 -13495 a(\007)p 16069 14198 15 791 v 16070 13407 a(\007)p -15450 14558 1333 15 v 15066 14108 1520 85 v 15066 14240 -V 16571 14198 15 703 v 16572 13495 a(\007)p 17073 17572 -V 17073 16869 15 1617 v 17073 13846 15 703 v 17087 17572 -a - slur@Dict begin /pss@rega 0 N /psc@rega 0 N /pst@rega 0 N end - 17087 17572 a -1540 22572 18628 15 v -1540 22748 V --1540 22924 V -1540 23100 V -1540 23275 V -1540 20956 -V -1540 21096 V -1540 21237 V -1540 21377 V -1540 21518 -V -1540 18847 V -1540 19023 V -1540 19198 V -1540 19374 -V -1540 19550 V -1540 23275 15 4436 v -1716 18532 a Fb(11)-1540 -22126 y Fi(\240)-1540 22741 y Fg(I)-1487 21370 y Ff(G)-1540 -19367 y Fg(G)-960 23093 y(2)-957 21230 y Ff(2)-960 19191 -y Fg(2)-381 23708 y(Z)p -413 23531 15 615 v -412 22917 -a(\010)-413 21581 y Ff(\010)p -455 21659 254 15 v -454 -21799 V -411 22125 15 545 v -410 21792 a(\010)p -251 -21441 15 492 v -412 21441 a(\010\000)-551 20255 y Fc(pi)10 -b(\022)-185 b(u)p -209 19279 15 615 v -412 19279 a Fg(\007\000)620 -20255 y Fc(n)-10 b(\023)-166 b(e)p 894 19631 15 572 v -895 19631 a Fg(\()-204 b(\007)p 1532 23093 15 615 v 1329 -23093 a(\007)p 1286 21659 254 15 v -1371 x Ff(\010)p -1329 22055 15 474 v 1330 21581 a(\010)1189 20255 y Fc(pi)10 -b(\022)-185 b(u)p 1532 19455 15 615 v 1329 19455 a Fg(\007)2262 -23708 y(Z)p 2434 23268 V 2231 23268 a(\007)p 2392 21370 -15 492 v -1898 x Ff(\007)2230 20255 y Fc(mi)p 2434 19543 -15 791 v 2231 19543 a Fg(\007)p 2884 19455 15 703 v 2681 -19455 a(\007)p 3333 19367 15 616 v 3130 19367 a(\007)p -2692 20255 1099 15 v 2434 18926 1356 85 v 2434 18794 -V 3783 19455 15 703 v 3580 19455 a(\007)p 4029 23268 -V 4029 22565 15 1617 v 4029 19543 15 703 v 4362 23795 -a Fa(11)4653 23233 y - slur@Dict begin CP /S0y1 ED /S0x1 ED /S0hgt (0.99998pt) GD N /S0brk -S0hgt (2.5pt) GD 1 -1 M M A N /S0lift 0 N /S0alt (0.0pt) GDAR N /S0dir --1 N /S0dash 0 N /S0adj 1 N end - 4653 23233 a 4565 23180 15 615 v -4362 23180 a Fg(\010)p 4319 21659 254 15 v 4320 21799 -V 4363 22125 15 334 v 4364 21792 a Ff(\010)4364 21862 -y(\000)4362 21511 y(\011)p 4692 21581 15 492 v 4531 21581 -a(\010)4369 20255 y Fc(li)4362 19543 y Fg(\011)5637 23795 -y Fb(])p Fa(10)5574 23093 y - slur@Dict begin (2.5pt) GD S0hgt (5.0pt) GD 1.6 (2.5pt) GD M S0dir -M A S0x1 S0y1 CP (4.00002pt) GDAR S0dir M SB 0.7 S0dir M 0.17 40 S0dash -S0adj 90 DS /ay1 ay1 (0.0pt) GDAR -10 AR add dir mul add def - 5574 23093 a 5574 23093 a - end -5574 23093 a 5929 23233 a - slur@Dict begin CP /S0y1 ED /S0x1 ED /S0hgt (0.99998pt) GD N /S0brk -S0hgt (2.5pt) GD 1 -1 M M A N /S0lift 0 N /S0alt (0.0pt) GDAR N /S0dir --1 N /S0dash 0 N /S0adj 1 N end - 5929 23233 a 5841 23180 15 -615 v 5638 23180 a Fg(\007)6571 23795 y Fc(7)6476 23093 -y - slur@Dict begin (2.5pt) GD S0hgt (5.0pt) GD 1.6 (2.5pt) GD M S0dir -M A S0x1 S0y1 CP (4.00002pt) GDAR S0dir M SB 0.7 S0dir M 0.17 40 S0dash -S0adj 90 DS /ay1 ay1 (0.0pt) GDAR -10 AR add dir mul add def - 6476 23093 a 6476 23093 a - end - 6476 23093 a 6743 23180 15 -615 v 6540 23180 a Fg(\007)p 6497 21659 254 15 v 6498 -21799 V 6541 22196 15 334 v 6542 21862 a Ff(\007)5468 -21652 y(4)p 5595 21659 254 15 v 5800 21652 15 492 v 2 -w(\010)p 7442 23268 15 703 v 7442 22565 15 1617 v 7442 -19543 15 703 v 7806 23708 a Fg(\\)p 7775 23531 15 615 -v 7776 22917 a(\010)7775 21581 y Ff(\010)7606 21933 y(4)p -7732 21659 254 15 v 7733 21799 V 7734 21940 V 7777 22266 -15 685 v 3 w(\010)p 7936 21581 15 492 v 7775 21581 a(\010)5024 -20255 y Fc(-)920 b(-)g(-)460 b(ce.)p 7978 19631 15 615 -v 7775 19631 a Fg(\010)p 9050 23531 V 9051 22917 a(\010)p -9008 21659 254 15 v 9009 21799 V 9052 21792 a Ff(\010)p -9052 22125 15 545 v 9053 21581 a(\010)8881 21441 y(4)p -9212 21441 15 492 v 1 w(\010)9050 19543 y Fg(>)9741 19455 -y(4)9786 20255 y Fc(P)-10 b(as)p 10156 19455 15 572 v -10157 19455 a Fg(\()-204 b(\007)10375 20255 y Fc(-)46 -b(so)p 10794 19455 V 10795 19455 a Fg(\()-204 b(\007)p -11228 23268 15 703 v 11228 22565 15 1617 v 11228 19543 -15 703 v 11764 23268 15 615 v 11561 23268 a(\010)11561 -21581 y Ff(\010)p 11518 21659 254 15 v 11561 22055 15 -474 v 11562 21722 a(\010)p 11722 21370 15 492 v 11561 -21370 a(\007)11344 20255 y Fc(nem)p 11764 19367 15 615 -v 11561 19367 a Fg(\007)p 13942 23005 V 13739 23005 a(\010)p -13696 21659 254 15 v 13697 21799 V 13740 21862 a Ff(\010)p -13698 21659 V 13741 22196 15 545 v 13742 21652 a(\010)12294 -21441 y(6)p 12625 21441 15 492 v 1 w(\007)p 13900 21511 -V 13739 21511 a(\010)12078 20255 y Fc(-)90 b(bi)12461 -20415 y Fb(^)12695 20255 y Fc(e)p 12667 19631 15 572 -v 12668 19631 a Fg(\()-204 b(\007)12957 20255 y Fc(pro)p -13304 19631 V 13305 19631 a Fg(\()g(\007)13543 20255 -y Fc(-)78 b(cel)p 13942 19543 V 13739 19543 a Fg(\007)p -14580 19455 15 484 v 14377 19455 a(\007)p 14581 19146 -457 85 v 13943 19014 1095 85 v 15029 19543 15 572 v 14826 -19543 a(\007)p 15479 19455 15 616 v 15276 19455 a(\007)p -15928 19543 15 703 v 15725 19543 a(\007)p 16378 19631 -15 791 v 16175 19631 a(\007)p 15479 19014 1356 85 v 15479 -18882 V 16828 19543 15 703 v 16625 19543 a(\007)p 17073 -23268 V 17073 22565 15 1617 v 17073 19543 15 703 v 14824 -20255 a Fc(-)1353 b(-)17087 23268 y - slur@Dict begin /pss@rega 0 N /psc@rega 0 N /pst@rega 0 N end - 17087 23268 a eop -end -userdict /end-hook known{end-hook}if -%%Trailer -cleartomark -countdictstack -exch sub { end } repeat -restore -%%EOF diff --git a/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/caccini2.eps b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/caccini2.eps deleted file mode 100644 index a036462b807..00000000000 --- a/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/caccini2.eps +++ /dev/null @@ -1,2098 +0,0 @@ -%% LaTeX2e file `eps/caccini2.eps' -%% generated by the `filecontents' environment -%% from source `pmxccn' on 2011/07/14. -%% -%!PS-Adobe-2.0 EPSF-2.0 -%%BoundingBox: 21 94 556 785 -% EPSF created by ps2eps 1.39 -%%Creator: dvips(k) 5.90a Copyright 2002 Radical Eye Software -%%Title: imp.dvi -%%CreationDate: Fri Sep 13 09:08:44 2002 -%%PageOrder: Ascend -%%DocumentFonts: TeXMUSIXSPX-Regular CMTI10 TeXMUSIX20-Regular -%%+ TeXMUSIX16-Regular CMB10 CMR12 CMR10 CMMI10 CMR9 -%%DocumentPaperSizes: a4 -%%EndComments -%%BeginProlog -save -countdictstack -mark -newpath -/showpage {} def -/setpagedevice {pop} def%%EndProlog -%%Page 1 1 -%DVIPSWebPage: (www.radicaleye.com) -%DVIPSCommandLine: C:\TEXMF\MIKTEX\BIN\DVIPS.EXE -Ptype1 imp -%DVIPSParameters: dpi=2540, compressed -%DVIPSSource: TeX output 2002.09.13:0818 -%! -/TeXDict 300 dict def TeXDict begin/N{def}def/B{bind def}N/S{exch}N/X{S -N}B/A{dup}B/TR{translate}N/isls false N/vsize 11 72 mul N/hsize 8.5 72 -mul N/landplus90{false}def/@rigin{isls{[0 landplus90{1 -1}{-1 1}ifelse 0 -0 0]concat}if 72 Resolution div 72 VResolution div neg scale isls{ -landplus90{VResolution 72 div vsize mul 0 exch}{Resolution -72 div hsize -mul 0}ifelse TR}if Resolution VResolution vsize -72 div 1 add mul TR[ -matrix currentmatrix{A A round sub abs 0.00001 lt{round}if}forall round -exch round exch]setmatrix}N/@landscape{/isls true N}B/@manualfeed{ -statusdict/manualfeed true put}B/@copies{/#copies X}B/FMat[1 0 0 -1 0 0] -N/FBB[0 0 0 0]N/nn 0 N/IEn 0 N/ctr 0 N/df-tail{/nn 8 dict N nn begin -/FontType 3 N/FontMatrix fntrx N/FontBBox FBB N string/base X array -/BitMaps X/BuildChar{CharBuilder}N/Encoding IEn N end A{/foo setfont}2 -array copy cvx N load 0 nn put/ctr 0 N[}B/sf 0 N/df{/sf 1 N/fntrx FMat N -df-tail}B/dfs{div/sf X/fntrx[sf 0 0 sf neg 0 0]N df-tail}B/E{pop nn A -definefont setfont}B/Cw{Cd A length 5 sub get}B/Ch{Cd A length 4 sub get -}B/Cx{128 Cd A length 3 sub get sub}B/Cy{Cd A length 2 sub get 127 sub} -B/Cdx{Cd A length 1 sub get}B/Ci{Cd A type/stringtype ne{ctr get/ctr ctr -1 add N}if}B/id 0 N/rw 0 N/rc 0 N/gp 0 N/cp 0 N/G 0 N/CharBuilder{save 3 -1 roll S A/base get 2 index get S/BitMaps get S get/Cd X pop/ctr 0 N Cdx -0 Cx Cy Ch sub Cx Cw add Cy setcachedevice Cw Ch true[1 0 0 -1 -.1 Cx -sub Cy .1 sub]/id Ci N/rw Cw 7 add 8 idiv string N/rc 0 N/gp 0 N/cp 0 N{ -rc 0 ne{rc 1 sub/rc X rw}{G}ifelse}imagemask restore}B/G{{id gp get/gp -gp 1 add N A 18 mod S 18 idiv pl S get exec}loop}B/adv{cp add/cp X}B -/chg{rw cp id gp 4 index getinterval putinterval A gp add/gp X adv}B/nd{ -/cp 0 N rw exit}B/lsh{rw cp 2 copy get A 0 eq{pop 1}{A 255 eq{pop 254}{ -A A add 255 and S 1 and or}ifelse}ifelse put 1 adv}B/rsh{rw cp 2 copy -get A 0 eq{pop 128}{A 255 eq{pop 127}{A 2 idiv S 128 and or}ifelse} -ifelse put 1 adv}B/clr{rw cp 2 index string putinterval adv}B/set{rw cp -fillstr 0 4 index getinterval putinterval adv}B/fillstr 18 string 0 1 17 -{2 copy 255 put pop}for N/pl[{adv 1 chg}{adv 1 chg nd}{1 add chg}{1 add -chg nd}{adv lsh}{adv lsh nd}{adv rsh}{adv rsh nd}{1 add adv}{/rc X nd}{ -1 add set}{1 add clr}{adv 2 chg}{adv 2 chg nd}{pop nd}]A{bind pop} -forall N/D{/cc X A type/stringtype ne{]}if nn/base get cc ctr put nn -/BitMaps get S ctr S sf 1 ne{A A length 1 sub A 2 index S get sf div put -}if put/ctr ctr 1 add N}B/I{cc 1 add D}B/bop{userdict/bop-hook known{ -bop-hook}if/SI save N @rigin 0 0 moveto/V matrix currentmatrix A 1 get A -mul exch 0 get A mul add .99 lt{/QV}{/RV}ifelse load def pop pop}N/eop{ -SI restore userdict/eop-hook known{eop-hook}if showpage}N/@start{ -userdict/start-hook known{start-hook}if pop/VResolution X/Resolution X -1000 div/DVImag X/IEn 256 array N 2 string 0 1 255{IEn S A 360 add 36 4 -index cvrs cvn put}for pop 65781.76 div/vsize X 65781.76 div/hsize X}N -/p{show}N/RMat[1 0 0 -1 0 0]N/BDot 260 string N/Rx 0 N/Ry 0 N/V{}B/RV/v{ -/Ry X/Rx X V}B statusdict begin/product where{pop false[(Display)(NeXT) -(LaserWriter 16/600)]{A length product length le{A length product exch 0 -exch getinterval eq{pop true exit}if}{pop}ifelse}forall}{false}ifelse -end{{gsave TR -.1 .1 TR 1 1 scale Rx Ry false RMat{BDot}imagemask -grestore}}{{gsave TR -.1 .1 TR Rx Ry scale 1 1 false RMat{BDot} -imagemask grestore}}ifelse B/QV{gsave newpath transform round exch round -exch itransform moveto Rx 0 rlineto 0 Ry neg rlineto Rx neg 0 rlineto -fill grestore}B/a{moveto}B/delta 0 N/tail{A/delta X 0 rmoveto}B/M{S p -delta add tail}B/b{S p tail}B/c{-4 M}B/d{-3 M}B/e{-2 M}B/f{-1 M}B/g{0 M} -B/h{1 M}B/i{2 M}B/j{3 M}B/k{4 M}B/w{0 rmoveto}B/l{p -4 w}B/m{p -3 w}B/n{ -p -2 w}B/o{p -1 w}B/q{p 1 w}B/r{p 2 w}B/s{p 3 w}B/t{p 4 w}B/x{0 S -rmoveto}B/y{3 2 roll p a}B/bos{/SS save N}B/eos{SS restore}B end -% This file can be used instead of psslurs.pro, it is only commented -% and indented. -% -% VERSION: 1.0 -% -% WARNING! This is a heavy magic! If you want something more understandable, -% you will have to write it yourself (if it is possible in a stack-oriented -% language that PostScript is). There are some constants you can -% change and see what happens, but I think the slurs should be almost -% always satisfiable. When not, let me know at: -% standa@hiero.cz -% Also any bug reports and comments are welcomed. -% -% Stanislav Kneifl. -/slur@Dict 200 dict def -% this dictionary is for \setslurtext, overriding some dvips's definitions -/temp@xx@dict 4 dict def temp@xx@dict begin - /a { moveto ax1 ay1 rmoveto } def - /V {gsave newpath transform round exch round exch itransform - exch ax1 add exch ay1 add moveto rulex 0 rlineto 0 ruley neg - rlineto rulex neg 0 rlineto fill grestore} def -end -TeXDict begin -% get dimen from TeX's string ("125pt" -> 125 PS points) -/GD { dup length 2 sub 0 exch getinterval cvr 1.045 mul} def -% get dimen adjusted to Resolution -/GDAR { dup length 2 sub 0 exch getinterval cvr 4 AR mul 1.045 mul} def -% Adjust to Resolution -/AR { Resolution mul 300 div } def -% the distances in dvips's PostScript are resolution dependant! -end -slur@Dict begin -/CP /currentpoint load def -/ED { exch def } bind def -/AR { Resolution mul 300 div } def % stands for Adjust to Resolution, -/VS { dup /ay1 exch ay1 exch linew mul 4 mul add def /ay2 exch ay2 exch linew mul 4 mul add def } def -/y { 3 2 roll ax1 ay1 rmoveto show moveto } def -/M { mul } def -/A { add } def -/SB { sub } def -/P { pop } def -/DP { dup } def -/R { roll } def -/drawseg { 0 0 moveto - ax1 ay1 - ax1 0.6 mul ax2 0.4 mul add ay1 0.6 mul ay2 0.4 mul add - ax1 ax2 add 2 div ay1 ay2 add 2 div curveto - ax1 0.4 mul ax2 0.6 mul add ay1 0.4 mul ay2 0.6 mul add - ax2 ay2 - x2 0 curveto } def -/DS { - AR /maxe ED - /ifadjust ED - /ifdash ED - AR /m ED % max height of the slur - /e ED % "angularity" of the slur; 0.1 = very angular, - % 0.3 = very round - /aa exch neg def % what to multiply the height with - % AFTER the max height checking - /y2 ED % y coordinate of the end of the slur - /x2 ED % x coordinate of the end of the slur - /y1 ED % y coordinate of the beginning of the slur - /x1 ED % x coordinate of the beginning of the slur - /yr2 ED - /yr1 ED - /internote ED - /x2 x2 x1 sub def % x2=x2-x1 - /y2 y2 y1 sub def % y2=y2-y1 - /sx y2 x2 div def - /b x2 300 mul Resolution div abs sqrt AR 2 mul def % b=2*sqrt(x2) - b 3 AR lt {/b 3 AR def} if % b=max(b,3) - b m gt {/b m def} if % b=min(b,m) - /aa b aa mul def % aa=aa*b - /s 90 x2 y2 atan sub def % s=90-arctan(x2,y2) slope of the slur - /aa aa s cos div def % aa=aa/cos(s) height of the slur - /x2 s neg cos x2 mul s neg sin y2 mul sub def % x2 = x2*cos(-s) - y2*sin(-s) - % is the length of the slur - e x2 mul maxe gt { /e maxe x2 div def } if - /beta e x2 mul aa neg atan def - beta 90 gt {/beta 180 beta sub def} if - /ax1 e x2 mul def % control points - /ay1 aa def - /ax2 1 e sub x2 mul def - /ay2 aa def -% check if the starting and endin vector stay in desired quadrants -% => beta < abs(s) - beta s abs lt { - /b aa abs s abs 2 add sin mul s abs 2 add cos div def - s aa mul 0 lt { - s cos 0.75 lt { /ax1 ax1 b 1 s cos sub mul 0.5 mul sub def /ay1 ay1 s cos mul 0.8 mul def } if -% ^^^^ ^^^ ^^^ -% (values to play with) - /ax2 x2 b sub def - } - { - /ax1 b def - s cos 0.75 lt { /ax2 b 1 s cos sub mul 0.5 mul ax2 add def /ay2 ay2 s cos mul 0.8 mul def } if -% ^^^^ ^^^ ^^^ - } ifelse - } if -% align the slur to the staff lines - gsave - x1 y1 translate - s rotate -% [1 0 sx 1 0 0] concat - drawseg - gsave - initmatrix - flattenpath - pathbbox - exch pop - sub - /slh ED % in slh we have the height of the whole slur - pop - grestore - /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def - /slh yr slh internote div aa 0 gt { add } { sub } ifelse 2 div def -% check if the slur gets too close to staff line - /shift 0 def - slh 4.45 lt slh -0.5 gt and { - /slh slh dup truncate sub def - slh 0 lt { /slh 1 slh add def } if - aa 0 gt { /slh 1 slh sub def } if - % slh now contains the position ot the slur top/bottom in the space - % between the nearest staff lines (from <0,1>), regardless direction - % slur is too low: - slh 0.45 lt { /shift 0.45 slh sub def } if - % slur is too high, but we can be shift it down: - slh 0.7 gt slh 0.85 lt and { /shift 0.7 slh sub def } if - % slur is too high, must be shifted up: - slh 0.85 ge { /shift 1.45 slh sub def } if - } if - aa 0 gt { /shift shift neg def } if - ifadjust 0 eq { - /shift 0 def - } if -% and finally draw it... - grestore - gsave - /linew internote 0.06 mul AR def - linew 4 mul setlinewidth - 1 setlinecap - 0 setlinejoin - ifdash 1 eq - { [internote 8 mul AR internote 5 mul AR] 0 setdash } if - x1 y1 shift neg 2 mul internote mul 4 AR mul add translate - s rotate -% [1 sx 0 1 0 0] concat -% uncomment this to see the control points -% 5 AR setlinewidth ax1 ay1 moveto 0.1 0 rlineto stroke -% ax2 ay2 moveto 0.1 0 rlineto stroke linew setlinewidth - drawseg - 1 VS - drawseg - -2 VS - drawseg - x2 20 AR gt { - 3 VS - drawseg - } if - x2 50 AR gt { - -4 VS - drawseg - } if - x2 80 AR gt { - 5 VS - drawseg - } if - stroke - grestore - % now some \slurtext code... - /x1 ax1 ax2 add 2 div def % middle of the slur - /y1 ay1 ay2 add 2 div def - x1 s cos mul y1 s sin mul add neg - y1 s cos mul x1 s sin mul sub - aa 0 lt {1} {0} ifelse - end - % this is a hack to place the slurtext in the middle of the slur. - % From unknown reasons simple 'ax1 ay1 translate' did not work, - % so we have to overlay some definitions with our own, namely - % 'a', which is originally 'moveto' and 'V' for drawing rules. - % maybe there are some other operations that should be redefined, - % but for almost all cases this will be sufficient. If you find - % anything that won't be typeset at the correct position, let me know... - temp@xx@dict begin - /dir exch def - /ay1 exch def - /ax1 exch def -} def -% crescendos -/DC { - /y2 ED - /x2 ED - /y1 ED - /x1 ED - gsave - 1 AR ceiling setlinewidth % line thickness: this results - 1 setlinecap % to exactly 2 pixels in 300 dpi - 1 setlinejoin - x2 y2 10 AR add moveto % the 10's specify wideness of the - x1 y1 lineto % open end of the crescendo, - x2 y2 10 AR sub lineto % similarly the 11's below - stroke - grestore -} def -% half crescendos -/DHC { - /y2 ED - /x2 ED - /y1 ED - /x1 ED - gsave - 1 AR ceiling setlinewidth - 1 setlinecap - 1 setlinejoin - x2 y2 11 AR add moveto - x1 y1 4 AR add lineto stroke - x1 y1 4 AR sub moveto - x2 y2 11 AR sub lineto - stroke - grestore -} def -% differenced line -/DLN { - gsave - GDAR ceiling setlinewidth - GDAR exch GDAR neg rlineto - stroke - grestore -} def -% sloped line -/DSLN { - gsave - GDAR ceiling setlinewidth - GDAR exch 1.125 mul neg rotate 0 rlineto - stroke - grestore -} def -% free line (init & terminate) -/DFLN { - gsave - GDAR ceiling setlinewidth - CP moveto - lineto - stroke - grestore -} def -end -%! -TeXDict begin/rf{findfont dup length 1 add dict begin{1 index/FID ne 2 -index/UniqueID ne and{def}{pop pop}ifelse}forall[1 index 0 6 -1 roll -exec 0 exch 5 -1 roll VResolution Resolution div mul neg 0 0]/Metrics -exch def dict begin Encoding{exch dup type/integertype ne{pop pop 1 sub -dup 0 le{pop}{[}ifelse}{FontMatrix 0 get div Metrics 0 get div def} -ifelse}forall Metrics/Metrics currentdict end def[2 index currentdict -end definefont 3 -1 roll makefont/setfont cvx]cvx def}def/ObliqueSlant{ -dup sin S cos div neg}B/SlantFont{4 index mul add}def/ExtendFont{3 -1 -roll mul exch}def/ReEncodeFont{CharStrings rcheck{/Encoding false def -dup[exch{dup CharStrings exch known not{pop/.notdef/Encoding true def} -if}forall Encoding{]exch pop}{cleartomark}ifelse}if/Encoding exch def} -def end -%! -TeXDict begin/SDict 200 dict N SDict begin/@SpecialDefaults{/hs 612 N -/vs 792 N/ho 0 N/vo 0 N/hsc 1 N/vsc 1 N/ang 0 N/CLIP 0 N/rwiSeen false N -/rhiSeen false N/letter{}N/note{}N/a4{}N/legal{}N}B/@scaleunit 100 N -/@hscale{@scaleunit div/hsc X}B/@vscale{@scaleunit div/vsc X}B/@hsize{ -/hs X/CLIP 1 N}B/@vsize{/vs X/CLIP 1 N}B/@clip{/CLIP 2 N}B/@hoffset{/ho -X}B/@voffset{/vo X}B/@angle{/ang X}B/@rwi{10 div/rwi X/rwiSeen true N}B -/@rhi{10 div/rhi X/rhiSeen true N}B/@llx{/llx X}B/@lly{/lly X}B/@urx{ -/urx X}B/@ury{/ury X}B/magscale true def end/@MacSetUp{userdict/md known -{userdict/md get type/dicttype eq{userdict begin md length 10 add md -maxlength ge{/md md dup length 20 add dict copy def}if end md begin -/letter{}N/note{}N/legal{}N/od{txpose 1 0 mtx defaultmatrix dtransform S -atan/pa X newpath clippath mark{transform{itransform moveto}}{transform{ -itransform lineto}}{6 -2 roll transform 6 -2 roll transform 6 -2 roll -transform{itransform 6 2 roll itransform 6 2 roll itransform 6 2 roll -curveto}}{{closepath}}pathforall newpath counttomark array astore/gc xdf -pop ct 39 0 put 10 fz 0 fs 2 F/|______Courier fnt invertflag{PaintBlack} -if}N/txpose{pxs pys scale ppr aload pop por{noflips{pop S neg S TR pop 1 --1 scale}if xflip yflip and{pop S neg S TR 180 rotate 1 -1 scale ppr 3 -get ppr 1 get neg sub neg ppr 2 get ppr 0 get neg sub neg TR}if xflip -yflip not and{pop S neg S TR pop 180 rotate ppr 3 get ppr 1 get neg sub -neg 0 TR}if yflip xflip not and{ppr 1 get neg ppr 0 get neg TR}if}{ -noflips{TR pop pop 270 rotate 1 -1 scale}if xflip yflip and{TR pop pop -90 rotate 1 -1 scale ppr 3 get ppr 1 get neg sub neg ppr 2 get ppr 0 get -neg sub neg TR}if xflip yflip not and{TR pop pop 90 rotate ppr 3 get ppr -1 get neg sub neg 0 TR}if yflip xflip not and{TR pop pop 270 rotate ppr -2 get ppr 0 get neg sub neg 0 S TR}if}ifelse scaleby96{ppr aload pop 4 --1 roll add 2 div 3 1 roll add 2 div 2 copy TR .96 dup scale neg S neg S -TR}if}N/cp{pop pop showpage pm restore}N end}if}if}N/normalscale{ -Resolution 72 div VResolution 72 div neg scale magscale{DVImag dup scale -}if 0 setgray}N/psfts{S 65781.76 div N}N/startTexFig{/psf$SavedState -save N userdict maxlength dict begin/magscale true def normalscale -currentpoint TR/psf$ury psfts/psf$urx psfts/psf$lly psfts/psf$llx psfts -/psf$y psfts/psf$x psfts currentpoint/psf$cy X/psf$cx X/psf$sx psf$x -psf$urx psf$llx sub div N/psf$sy psf$y psf$ury psf$lly sub div N psf$sx -psf$sy scale psf$cx psf$sx div psf$llx sub psf$cy psf$sy div psf$ury sub -TR/showpage{}N/erasepage{}N/copypage{}N/p 3 def @MacSetUp}N/doclip{ -psf$llx psf$lly psf$urx psf$ury currentpoint 6 2 roll newpath 4 copy 4 2 -roll moveto 6 -1 roll S lineto S lineto S lineto closepath clip newpath -moveto}N/endTexFig{end psf$SavedState restore}N/@beginspecial{SDict -begin/SpecialSave save N gsave normalscale currentpoint TR -@SpecialDefaults count/ocount X/dcount countdictstack N}N/@setspecial{ -CLIP 1 eq{newpath 0 0 moveto hs 0 rlineto 0 vs rlineto hs neg 0 rlineto -closepath clip}if ho vo TR hsc vsc scale ang rotate rwiSeen{rwi urx llx -sub div rhiSeen{rhi ury lly sub div}{dup}ifelse scale llx neg lly neg TR -}{rhiSeen{rhi ury lly sub div dup scale llx neg lly neg TR}if}ifelse -CLIP 2 eq{newpath llx lly moveto urx lly lineto urx ury lineto llx ury -lineto closepath clip}if/showpage{}N/erasepage{}N/copypage{}N newpath}N -/@endspecial{count ocount sub{pop}repeat countdictstack dcount sub{end} -repeat grestore SpecialSave restore end}N/@defspecial{SDict begin}N -/@fedspecial{end}B/li{lineto}B/rl{rlineto}B/rc{rcurveto}B/np{/SaveX -currentpoint/SaveY X N 1 setlinecap newpath}N/st{stroke SaveX SaveY -moveto}N/fil{fill SaveX SaveY moveto}N/ellipse{/endangle X/startangle X -/yrad X/xrad X/savematrix matrix currentmatrix N TR xrad yrad scale 0 0 -1 startangle endangle arc savematrix setmatrix}N end -%!PS-AdobeFont-1.1: CMR9 1.0 -% Copyright (C) 1997 American Mathematical Society. All Rights Reserved. -11 dict begin -/FontInfo 7 dict dup begin -/version (1.0) readonly def -/Notice (Copyright (C) 1997 American Mathematical Society. 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All Rights Reserved. -11 dict begin -/FontInfo 7 dict dup begin -/version (1.100) readonly def -/Notice (Copyright (C) 1997 American Mathematical Society. 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All Rights Reserved. -11 dict begin -/FontInfo 7 dict dup begin -/version (1.00B) readonly def -/Notice (Copyright (C) 1997 American Mathematical Society. All Rights Reserved) readonly def -/FullName (CMR10) readonly def -/FamilyName (Computer Modern) readonly def -/Weight (Medium) readonly def -/ItalicAngle 0 def -/isFixedPitch false def -end readonly def -/FontName /CMR10 def -/PaintType 0 def -/FontType 1 def -/FontMatrix [0.001 0 0 0.001 0 0] readonly def -/Encoding 256 array -0 1 255 {1 index exch /.notdef put} for -dup 18 /grave put -dup 19 /acute put -dup 39 /quoteright put -dup 40 /parenleft put -dup 41 /parenright put -dup 44 /comma put -dup 45 /hyphen put -dup 46 /period put -dup 48 /zero put -dup 49 /one put -dup 53 /five put -dup 54 /six put -dup 55 /seven put -dup 56 /eight put -dup 58 /colon put -dup 65 /A put -dup 80 /P put -dup 81 /Q put -dup 84 /T put -dup 97 /a put -dup 98 /b put -dup 99 /c put -dup 100 /d put -dup 101 /e put -dup 102 /f put -dup 103 /g put -dup 104 /h put -dup 105 /i put -dup 108 /l put -dup 109 /m put -dup 110 /n put -dup 111 /o put -dup 112 /p put -dup 113 /q put -dup 114 /r put -dup 115 /s put -dup 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17073 3692 15 1617 v 17073 669 15 -703 v 17087 4395 a - slur@Dict begin /pss@rega 0 N /psc@rega 0 N /pst@rega 0 N end - 17087 4395 a -1540 9892 18628 15 v --1540 10068 V -1540 10244 V -1540 10419 V -1540 10595 -V -1540 8276 V -1540 8416 V -1540 8557 V -1540 8697 V --1540 8838 V -1540 6167 V -1540 6343 V -1540 6518 V -1540 -6694 V -1540 6870 V -1540 10595 15 4436 v -1716 5852 -a Fb(18)-1540 9446 y Fi(\240)-1540 10061 y Fg(I)-1487 -8690 y Ff(G)-1540 6687 y Fg(G)-960 10412 y(2)-957 8550 -y Ff(2)-960 6511 y Fg(2)-275 10465 y - slur@Dict begin CP /S0y1 ED /S0x1 ED /S0hgt (3.49998pt) GD N /S0brk -S0hgt (2.5pt) GD 1 -1 M M A N /S0lift 0 N /S0alt (0.0pt) GDAR N /S0dir --1 N /S0dash 0 N /S0adj 1 N end - -275 10465 a -195 -10325 15 615 v -398 10325 a Fg(\007)p -441 8978 254 15 -v -1354 x Ff(\010)p -440 8978 V -439 9119 V -396 9516 -15 545 v -395 9182 a(\010)p -237 8831 15 492 v -398 8831 -a(\007)-561 7574 y Fc(que)p -398 6994 15 572 v -397 6994 -a Fg(-)-397 6423 y(\007\000)888 11115 y Fa(11)993 10325 -y - slur@Dict begin (2.5pt) GD S0hgt (7.5pt) GD 1.6 (2.5pt) GD M S0dir -M A S0x1 S0y1 CP (4.00002pt) GDAR S0dir M SB 0.7 S0dir M 0.17 40 S0dash -S0adj 90 DS /ay1 ay1 (0.0pt) GDAR -10 AR add dir mul add def - 993 10325 a 993 10325 a - end - 993 10325 a 1092 10325 15 615 -v -104 w Fg(\007)1121 8648 y - slur@Dict begin CP /S0y1 ED /S0x1 ED /S0hgt (5.20001pt) GD N /S0brk -S0hgt (2.0pt) GD 1 1 M M A N /S0lift 0 N /S0alt (50.0pt) GDAR N /S0dir -1 N /S0dash 0 N /S0adj 1 N end - 1121 8648 a 1049 8761 15 -492 v 888 8761 a Ff(\007)10 7574 y Fc(-)34 b(st')-10 -b(\022)-166 b(e'l)p 418 6994 15 572 v 419 6994 a Fg(.)419 -6423 y(\007)991 7574 y Fc(re)p 1092 6511 15 616 v 889 -6511 a Fg(\007)p 1561 6599 15 656 v 1358 6599 a(\007)p -2031 6687 15 697 v 1828 6687 a(\007)1092 6028 y(\312)1384 -6057 y(\312)1092 5896 y(\312)1384 5925 y(\312)p 2501 -6775 15 738 v 2298 6775 a(\007)2767 11115 y Fa(11)p 2971 -10325 15 615 v 2768 10325 a Fg(\007)3710 11115 y Fa(10)p -3914 10325 V 3711 10325 a Fg(\007)p 2725 8978 254 15 -v 2726 9119 V 2769 9182 a Ff(\010)p 2727 8978 V 2770 -9516 15 545 v 2771 8971 a(\010)2851 8761 y - slur@Dict begin (2.0pt) GD S0hgt (2.0pt) GD 1.6 (2.0pt) GD M S0dir -M A S0x1 S0y1 CP (3.20001pt) GDAR S0dir M SB 0.7 S0dir M 0.17 40 S0dash -S0adj 90 DS /ay1 ay1 (0.0pt) GDAR -10 AR add dir mul add def - 2851 8761 -a 2851 8761 a - end - 2851 8761 a 2929 8761 15 492 v -83 w Ff(\007)p -3872 8831 V 3711 8831 a(\007)p 2971 6687 15 615 v 2768 -6687 a Fg(\010)p 4653 10588 15 703 v 4653 9885 15 1617 -v 4653 6863 15 703 v 5000 10676 a(\011)p 4958 8978 296 -15 v 5001 8971 a Ff(\011)p 4959 8978 V 4960 9119 V 5003 -9112 a(\011)5000 8761 y(\011)1809 7574 y Fc(-)1050 b(-)f(-)524 -b(gno.)5000 6775 y Fg(\011)p 6886 10588 15 703 v 6886 -9885 15 1617 v 6886 6863 15 703 v 7233 10675 15 615 v -7234 10061 a(\007)p 8176 10763 V 8177 10149 a(\007)9242 -10096 y - slur@Dict begin CP /S0y1 ED /S0x1 ED /S0hgt (14.00002pt) GD N /S0brk -S0hgt (2.5pt) GD 1 1 M M A N /S0lift 0 N /S0alt (0.0pt) GDAR N /S0dir -1 N /S0dash 0 N /S0adj 1 N end - 9242 10096 a 9119 10851 15 615 v 9120 10237 a -Fg(\007)p 7191 8978 254 15 v 7192 9119 V 7235 9445 15 -334 v 7236 9112 a Ff(\007)p 8134 8978 254 15 v 8135 9119 -V 8178 9516 15 334 v 8179 9182 a(\007)9218 9365 y - slur@Dict begin CP /S1y1 ED /S1x1 ED /S1hgt (-15.20001pt) GD N /S1brk -S1hgt (2.0pt) GD 1 -1 M M A N /S1lift 0 N /S1alt (50.0pt) GDAR N /S1dir --1 N /S1dash 0 N /S1adj 1 N end - 9218 -9365 a 9077 8978 254 15 v 9078 9119 V 9079 9260 V 9122 -9586 15 334 v 9123 9253 a Ff(\007)p 7395 8761 15 492 -v 7234 8761 a(\007)8410 8859 y - slur@Dict begin CP /S2y1 ED /S2x1 ED /S2hgt (-0.79999pt) GD N /S2brk -S2hgt (2.0pt) GD 1 1 M M A N /S2lift 0 N /S2alt (50.0pt) GDAR N /S2dir -1 N /S2dash 0 N /S2adj 1 N end - 8410 8859 a 8134 8978 -254 15 v 8339 8971 15 492 v 8178 8971 a Ff(\007)9204 -8971 y - slur@Dict begin (2.0pt) GD S2hgt (-4.0pt) GD 1.6 (2.0pt) GD M S2dir -M A S2x1 S2y1 CP (3.20001pt) GDAR S2dir M SB 0.7 S2dir M 0.17 40 S2dash -S2adj 90 DS /ay1 ay1 (0.0pt) GDAR -10 AR add dir mul add def - 9204 8971 a 9204 8971 a - end - 9204 8971 a 9077 8978 -254 15 v 9282 8971 15 492 v -83 w Ff(\007)7060 7574 y -Fc(Ah,)p 7437 6599 15 615 v 7234 6599 a Fg(\010\000)10168 -10237 y - slur@Dict begin (2.5pt) GD S0hgt (10.0pt) GD 1.6 (2.5pt) GD M S0dir -M A S0x1 S0y1 CP (4.00002pt) GDAR S0dir M SB 0.7 S0dir M 0.17 40 S0dash -S0adj 90 DS /ay1 ay1 (0.0pt) GDAR -10 AR add dir mul add def - 10168 10237 a 10168 10237 a - end - 10168 10237 a 10062 -10851 15 615 v -105 w Fg(\007)10011 9253 y - slur@Dict begin (2.0pt) GD S1hgt (-12.0pt) GD 1.6 (2.0pt) GD M S1dir -M A S1x1 S1y1 CP (3.20001pt) GDAR S1dir M SB 0.7 S1dir M 0.17 40 S1dash -S1adj 90 DS /ay1 ay1 (0.0pt) GDAR -10 AR add dir mul add def - 10011 9253 -a 10011 9253 a - end - 10011 9253 a 10020 8978 254 15 v 10021 -9119 V 10022 9260 V 10065 9586 15 334 v 55 w Ff(\007)9893 -9042 y(6)p 10020 8978 254 15 v 10225 9041 15 493 v 10064 -9041 a(\007)9884 7574 y Fc(mia)p 10266 6687 15 572 v -10267 6687 a Fg(\()-204 b(\007)10624 7574 y Fc(for)p -10932 6775 V 10933 6775 a Fg(\()g(\007)p 11395 10588 -15 703 v 11395 9885 15 1617 v 11395 6863 15 703 v 11865 -10465 a - slur@Dict begin CP /S0y1 ED /S0x1 ED /S0hgt (3.49998pt) GD N /S0brk -S0hgt (2.5pt) GD 1 -1 M M A N /S0lift 0 N /S0alt (0.0pt) GDAR N /S0dir --1 N /S0dash 0 N /S0adj 1 N end - 11865 10465 a 11946 10325 15 615 v 11743 10325 -a Fg(\010)14513 10325 y - slur@Dict begin (2.5pt) GD S0hgt (7.5pt) GD 1.6 (2.5pt) GD M S0dir -M A S0x1 S0y1 CP (4.00002pt) GDAR S0dir M SB 0.7 S0dir M 0.17 40 S0dash -S0adj 90 DS /ay1 ay1 (0.0pt) GDAR -10 AR add dir mul add def - 14513 10325 a 14513 10325 a - end - 14513 -10325 a 14612 10325 15 572 v -104 w Fg(\007)p 15278 10325 -15 538 v 666 w(\007)p 15944 10412 15 593 v 15741 10412 -a(\007)14612 9753 y(\304)15494 9798 y(\304)p 16611 10500 -15 647 v 16408 10500 a(\007)p 11700 8978 254 15 v 11701 -9119 V 11702 9260 V 11745 9323 a Ff(\010)p 11703 8978 -V 11704 9119 V 11747 9656 15 474 v 11748 9182 a(\010)p -11700 8978 254 15 v 11905 8971 15 492 v 11744 8971 a(\010)14408 -8831 y(?)p 15236 8831 15 387 v 667 w(\007)p 15902 8901 -15 424 v 15741 8901 a(\007)15236 8444 y(\304)15452 8455 -y(\304)p 16365 8978 254 15 v 16570 8971 15 461 v 16409 -8971 a(\007)11304 7574 y Fc(-)261 b(tu)p 11946 6863 15 -572 v 11947 6863 a Fg(\()-204 b(\007)12112 7574 y Fc(-)99 -b(na)p 12612 6951 V 12613 6951 a Fg(\()-204 b(\007)12897 -7574 y Fc(non)p 13279 6863 V 13280 6863 a Fg(\()g(\007)13699 -7574 y Fc(se)p 13945 6775 V 13946 6775 a Fg(\()g(\007)14230 -7574 y Fc(l'ab)p 14612 6687 15 615 v 14409 6687 a Fg(\010)p -17073 10588 15 703 v 17073 9885 15 1617 v 17073 6863 -15 703 v 15310 7574 a Fc(-)1029 b(-)17087 10588 y - slur@Dict begin /pss@rega 0 N /psc@rega 0 N /pst@rega 0 N end - 17087 -10588 a -1540 16275 18628 15 v -1540 16451 V -1540 16626 -V -1540 16802 V -1540 16978 V -1540 14658 V -1540 14799 -V -1540 14939 V -1540 15080 V -1540 15220 V -1540 12549 -V -1540 12725 V -1540 12901 V -1540 13077 V -1540 13252 -V -1540 16978 15 4436 v -1716 12235 a Fb(22)-1540 15828 -y Fi(\240)-1540 16444 y Fg(I)-1487 15073 y Ff(G)-1540 -13069 y Fg(G)-960 16795 y(2)-957 14932 y Ff(2)-960 12894 -y Fg(2)-339 17498 y Fb(])p Fa(10)-216 17111 y - slur@Dict begin CP /S0y1 ED /S0x1 ED /S0hgt (-4.00002pt) GD N /S0brk -S0hgt (2.5pt) GD 1 -1 M M A N /S0lift 0 N /S0alt (0.0pt) GDAR N /S0dir --1 N /S0dash 0 N /S0adj 1 N end - -216 17111 -a -135 16971 15 615 v -338 16971 a Fg(\007)771 17498 -y Fa(11)877 16971 y - slur@Dict begin (2.5pt) GD S0hgt (0.0pt) GD 1.6 (2.5pt) GD M S0dir -M A S0x1 S0y1 CP (4.00002pt) GDAR S0dir M SB 0.7 S0dir M 0.17 40 S0dash -S0adj 90 DS /ay1 ay1 (0.0pt) GDAR -10 AR add dir mul add def - 877 16971 a 877 16971 a - end - 877 16971 -a 975 16971 15 615 v -105 w Fg(\007)1882 17498 y Fa(11)2005 -17111 y - slur@Dict begin CP /S0y1 ED /S0x1 ED /S0hgt (-4.00002pt) GD N /S0brk -S0hgt (2.5pt) GD 1 -1 M M A N /S0lift 0 N /S0alt (0.0pt) GDAR N /S0dir --1 N /S0dash 0 N /S0adj 1 N end - 2005 17111 a 2085 16971 15 615 v 1882 16971 a -Fg(\007)2992 17498 y Fb(])p Fa(10)3097 16971 y - slur@Dict begin (2.5pt) GD S0hgt (0.0pt) GD 1.6 (2.5pt) GD M S0dir -M A S0x1 S0y1 CP (4.00002pt) GDAR S0dir M SB 0.7 S0dir M 0.17 40 S0dash -S0adj 90 DS /ay1 ay1 (0.0pt) GDAR -10 AR add dir mul add def - 3097 16971 -a 3097 16971 a - end - 3097 16971 a 3196 16971 15 615 v -104 -w Fg(\007)-339 15284 y Ff(\011)p -381 15361 296 15 v --380 15502 V -337 15565 a(\011)-508 15424 y(6)p -213 -15361 254 15 v -8 15424 15 493 v 170 w(\007)1005 15242 -y - slur@Dict begin CP /S0y1 ED /S0x1 ED /S0hgt (-0.79999pt) GD N /S0brk -S0hgt (2.0pt) GD 1 1 M M A N /S0lift 0 N /S0alt (50.0pt) GDAR N /S0dir -1 N /S0dash 0 N /S0adj 1 N end - 1005 15242 a 729 15361 254 15 v 934 15354 15 492 v -773 15354 a Ff(\007)1966 15354 y - slur@Dict begin (2.0pt) GD S0hgt (-4.0pt) GD 1.6 (2.0pt) GD M S0dir -M A S0x1 S0y1 CP (3.20001pt) GDAR S0dir M SB 0.7 S0dir M 0.17 40 S0dash -S0adj 90 DS /ay1 ay1 (0.0pt) GDAR -10 AR add dir mul add def - 1966 15354 a 1966 15354 -a - end - 1966 15354 a 1839 15361 254 15 v 2044 15354 15 492 -v -83 w Ff(\007)p 2950 15361 254 15 v 3155 15424 15 493 -v 2994 15424 a(\007)-468 13957 y Fc(bia)p -135 13069 -15 615 v -338 13069 a Fg(\007)789 13957 y Fc(a)p 975 -13333 V 772 13333 a Fg(\007)1742 13957 y Fc(sde)p 2085 -13333 V 1882 13333 a Fg(\010)p 4102 16971 15 703 v 4102 -16268 15 1617 v 4102 13245 15 703 v 4509 16707 a(\011)p -4467 15361 296 15 v 4468 15502 V 4511 15565 a Ff(\011)p -4469 15361 V 4512 15354 a(\011)4509 15213 y(\011)2688 -13957 y Fc(-)914 b(-)456 b(gno.)p 4456 13428 370 15 v -4510 13421 a Fg(\011)p 6730 16971 15 703 v 6730 16268 -15 1617 v 6730 13245 15 703 v 7340 16707 15 615 v 7137 -16707 a(\010)p 7094 15361 254 15 v -1353 x Ff(\010)p -7095 15361 V 7096 15502 V 7139 15898 15 545 v 7140 15565 -a(\010)p 7298 15213 15 492 v 7137 15213 a(\010)6929 13957 -y Fc(Que)p 7340 13069 15 615 v 7137 13069 a Fg(\007)7137 -12982 y(\000)7881 13957 y Fc(-)327 b(sto,)p 8698 13245 -15 572 v 8699 13245 a Fg(\()-204 b(\007)p 9482 16883 -15 615 v 9279 16883 a(\007)p 9236 15361 254 15 v 9237 -15502 V 9280 15495 a Ff(\010)p 9238 15361 V 9281 15828 -15 474 v 9282 15354 a(\010)p 9440 15213 15 492 v 9279 -15213 a(\007)9115 13957 y Fc(que)p 9482 12982 15 615 -v 9279 12982 a Fg(\007)p 10593 17059 V 10390 17059 a(\007)p -10551 15143 15 492 v -1916 x Ff(\007)9902 13957 y Fc(-)250 -b(sto)p 10593 13069 15 572 v 10594 13069 a Fg(\()-204 -b(\007)10918 13957 y Fc(m'ac)p 11377 13157 V 11378 13157 -a Fg(\()g(\007)p 11958 16971 15 703 v 11958 16268 15 -1617 v 11958 13245 15 703 v 12569 16707 15 615 v 12366 -16707 a(\010)p 12323 15361 254 15 v -1353 x Ff(\010)p -12324 15361 V 12325 15502 V 12368 15898 15 545 v 12369 -15565 a(\010)p 12526 15213 15 492 v 12365 15213 a(\010)11914 -13957 y Fc(-)273 b(co)p 12569 13069 15 615 v 12366 13069 -a Fg(\010)p 14138 17059 V 13935 17059 a(\010)p 13892 -15361 254 15 v 13893 15502 V 13936 15495 a Ff(\010)p -13894 15361 V 13937 15828 15 474 v 13938 15354 a(\010)p -14096 15143 15 492 v 13935 15143 a(\010)13177 13957 y -Fc(-)540 b(ra:)p 14138 13157 15 572 v 14139 13157 a Fg(\()-204 -b(\007)14468 13957 y Fc(c)-10 b(h'al)p 14923 13157 V -14924 13157 a Fg(\()-204 b(\007)15243 13957 y Fc(-)63 -b(tri)p 15708 13157 V 15709 13157 a Fg(\()-204 b(\007)16228 -13957 y Fc(ca)p 16492 13245 V 16493 13245 a Fg(\()g(\007)p -17073 16971 15 703 v 17073 16268 15 1617 v 17073 13245 -15 703 v 16765 13957 a Fc(-)17087 16971 y - slur@Dict begin /pss@rega 0 N /psc@rega 0 N /pst@rega 0 N end - 17087 16971 -a -1540 22801 18628 15 v -1540 22977 V -1540 23152 V --1540 23328 V -1540 23504 V -1540 21184 V -1540 21325 -V -1540 21465 V -1540 21606 V -1540 21746 V -1540 19075 -V -1540 19251 V -1540 19427 V -1540 19603 V -1540 19778 -V -1540 23504 15 4436 v -1716 18761 a Fb(26)-1540 22355 -y Fi(\240)-1540 22970 y Fg(I)-1487 21599 y Ff(G)-1540 -19596 y Fg(G)-960 23321 y(2)-957 21458 y Ff(2)-960 19420 -y Fg(2)p -177 23321 15 615 v -380 23321 a(\007)-381 21810 -y Ff(\010)p -423 21887 254 15 v -380 22284 15 474 v -379 -21950 a(\010)p -219 21669 15 492 v -380 21669 a(\010)-588 -20483 y Fc(deo,)p -177 19859 15 615 v -380 19859 a Fg(\010)p -816 23321 15 572 v 613 23321 a(\007)817 22750 y(\303)963 -22757 y(\303)p 1518 23409 15 624 v 1315 23409 a(\007)2048 -23760 y(Z)p 2220 23497 15 615 v 2017 23497 a(\010)p 1974 -21887 254 15 v -1547 x Ff(\010)p 2017 22284 15 474 v -2018 21810 a(\010)p 2178 21599 15 492 v 2017 21599 a(\010)2016 -19771 y Fg(?)2467 20483 y Fc(c)-10 b(h'al)p 2718 19991 -15 572 v 2719 19991 a Fg(-)2719 19420 y(\007)3201 20483 -y Fc(-)21 b(tri)p 3420 19991 V 3421 19991 a Fg(-)3421 -19420 y(\007)4061 20483 y Fc(ca)p 4325 19508 V 4326 19508 -a Fg(\()-204 b(\007)p 4823 23497 15 703 v 4823 22794 -15 1617 v 4823 19771 15 703 v 5392 23233 15 615 v 5189 -23233 a(\010)5188 21739 y Ff(\010)p 5146 21887 254 15 -v 5189 22240 15 501 v 5190 21880 a(\010)p 5350 21599 -15 492 v 5189 21599 a(\007)p 6753 21669 V 6592 21669 -a(\007)4653 20483 y Fc(-)260 b(deo)p 5392 19596 15 572 -v 5393 19596 a Fg(\()-204 b(\007)5761 20483 y Fc(dal)p -6094 19771 V 6095 19771 a Fg(\()g(\007)6512 20483 y Fc(pa)p -6796 19771 V 6797 19771 a Fg(\()g(\007)7004 20483 y Fc(-)121 -b(ra)p 7497 19683 V 7498 19683 a Fg(\()-204 b(\007)p -8199 23233 15 615 v 7996 23233 a(\007)p 7953 21887 254 -15 v 7954 22028 V 7997 22091 a Ff(\010)p 7955 21887 V -7998 22424 15 545 v 7999 21880 a(\010)p 8157 21739 15 -492 v 7996 21739 a(\007)7696 20483 y Fc(-)141 b(di)p -8199 19596 15 615 v 7996 19596 a Fg(\007)8988 23848 y -Fa(11)p 9192 23233 V 8989 23233 a Fg(\007)9222 21557 -y - slur@Dict begin CP /S0y1 ED /S0x1 ED /S0hgt (5.20001pt) GD N /S0brk -S0hgt (2.0pt) GD 1 1 M M A N /S0lift 0 N /S0alt (50.0pt) GDAR N /S0dir -1 N /S0dash 0 N /S0adj 1 N end - 9222 21557 a 9150 21669 15 492 v 8989 21669 a Ff(\007)8559 -20483 y Fc(-)312 b(so)9186 20644 y Fb(^)9420 20483 y -Fc(an)p 9192 19683 15 791 v 8989 19683 a Fg(\007)p 9687 -19596 15 753 v 9484 19596 a(\007)p 10182 19508 15 714 -v 9979 19508 a(\007)9192 19024 y(\212)9560 18988 y(\212)9192 -18893 y(\212)9560 18856 y(\212)p 10677 19420 15 676 v -10474 19420 a(\007)p 10968 23497 15 703 v 10968 22794 -15 1617 v 10968 19771 15 703 v 11332 23848 a Fa(11)11624 -23286 y - slur@Dict begin CP /S1y1 ED /S1x1 ED /S1hgt (5.99998pt) GD N /S1brk -S1hgt (2.5pt) GD 1 -1 M M A N /S1lift 0 N /S1alt (0.0pt) GDAR N /S1dir --1 N /S1dash 0 N /S1adj 1 N end - 11624 23286 a 11536 23233 15 615 v 11333 23233 -a Fg(\010)p 11290 21887 254 15 v -1353 x Ff(\010)p 11291 -21887 V 11292 22028 V 11335 22424 15 545 v 11336 22091 -a(\010)11417 21669 y - slur@Dict begin (2.0pt) GD S0hgt (2.0pt) GD 1.6 (2.0pt) GD M S0dir -M A S0x1 S0y1 CP (3.20001pt) GDAR S0dir M SB 0.7 S0dir M 0.17 40 S0dash -S0adj 90 DS /ay1 ay1 (0.0pt) GDAR -10 AR add dir mul add def - 11417 21669 a 11417 21669 a - end - 11417 -21669 a 11494 21669 15 492 v -84 w Ff(\010)10473 20483 -y Fc(-)682 b(co)11332 19596 y Fg(\011)12736 23848 y Fa(10)12673 -23145 y - slur@Dict begin (2.5pt) GD S1hgt (10.0pt) GD 1.6 (2.5pt) GD M S1dir -M A S1x1 S1y1 CP (4.00002pt) GDAR S1dir M SB 0.7 S1dir M 0.17 40 S1dash -S1adj 90 DS /ay1 ay1 (0.0pt) GDAR -10 AR add dir mul add def - 12673 23145 a 12673 23145 a - end - 12673 23145 a 13028 -23286 a - slur@Dict begin CP /S0y1 ED /S0x1 ED /S0hgt (5.99998pt) GD N /S0brk -S0hgt (2.5pt) GD 1 -1 M M A N /S0lift 0 N /S0alt (0.0pt) GDAR N /S0dir --1 N /S0dash 0 N /S0adj 1 N end - 13028 23286 a 12940 23233 15 615 v 12737 23233 -a Fg(\007)13761 23848 y Fc(7)13666 23145 y - slur@Dict begin (2.5pt) GD S0hgt (10.0pt) GD 1.6 (2.5pt) GD M S0dir -M A S0x1 S0y1 CP (4.00002pt) GDAR S0dir M SB 0.7 S0dir M 0.17 40 S0dash -S0adj 90 DS /ay1 ay1 (0.0pt) GDAR -10 AR add dir mul add def - 13666 23145 -a 13666 23145 a - end - 13666 23145 a 13933 23233 15 615 v 13730 -23233 a Fg(\007)p 12694 21887 254 15 v 12695 22028 V -12738 22091 a Ff(\010)p 12738 22424 15 685 v 12739 21739 -a(\010)p 12863 21887 254 15 v 13068 21880 15 492 v 12907 -21880 a(\007)p 13687 21887 254 15 v 13892 21950 15 493 -v 13731 21950 a(\007)p 14722 23497 15 703 v 14722 22794 -15 1617 v 14722 19771 15 703 v 15087 23585 a Fg(\011)p -15045 21887 296 15 v 15046 22028 V 15089 22021 a Ff(\011)15087 -21669 y(\011)12109 20483 y Fc(-)1011 b(-)g(-)505 b(ra.)15087 -19683 y Fg(\011)p 17073 23497 15 703 v 17073 22794 15 -1617 v 17073 19771 15 703 v 17087 23497 a - slur@Dict begin /pss@rega 0 N /psc@rega 0 N /pst@rega 0 N end - 17087 23497 -a eop end -userdict /end-hook known{end-hook}if -%%Trailer -cleartomark -countdictstack -exch sub { end } repeat -restore -%%EOF diff --git a/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/caccini3.eps b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/caccini3.eps deleted file mode 100644 index cd112da32f5..00000000000 --- a/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/caccini3.eps +++ /dev/null @@ -1,2057 +0,0 @@ -%% LaTeX2e file `eps/caccini3.eps' -%% generated by the `filecontents' environment -%% from source `pmxccn' on 2011/07/14. -%% -%!PS-Adobe-2.0 EPSF-2.0 -%%BoundingBox: 21 94 556 785 -% EPSF created by ps2eps 1.39 -%%Creator: dvips(k) 5.90a Copyright 2002 Radical Eye Software -%%Title: imp.dvi -%%CreationDate: Fri Sep 13 09:08:44 2002 -%%PageOrder: Ascend -%%DocumentFonts: TeXMUSIXSPX-Regular CMTI10 TeXMUSIX20-Regular -%%+ TeXMUSIX16-Regular CMB10 CMR12 CMR10 CMMI10 CMR9 -%%DocumentPaperSizes: a4 -%%EndComments -%%BeginProlog -save -countdictstack -mark -newpath -/showpage {} def -/setpagedevice {pop} def%%EndProlog -%%Page 1 1 -%DVIPSWebPage: (www.radicaleye.com) -%DVIPSCommandLine: C:\TEXMF\MIKTEX\BIN\DVIPS.EXE -Ptype1 imp -%DVIPSParameters: dpi=2540, compressed -%DVIPSSource: TeX output 2002.09.13:0818 -%! -/TeXDict 300 dict def TeXDict begin/N{def}def/B{bind def}N/S{exch}N/X{S -N}B/A{dup}B/TR{translate}N/isls false N/vsize 11 72 mul N/hsize 8.5 72 -mul N/landplus90{false}def/@rigin{isls{[0 landplus90{1 -1}{-1 1}ifelse 0 -0 0]concat}if 72 Resolution div 72 VResolution div neg scale isls{ -landplus90{VResolution 72 div vsize mul 0 exch}{Resolution -72 div hsize -mul 0}ifelse TR}if Resolution VResolution vsize -72 div 1 add mul TR[ -matrix currentmatrix{A A round sub abs 0.00001 lt{round}if}forall round -exch round exch]setmatrix}N/@landscape{/isls true N}B/@manualfeed{ -statusdict/manualfeed true put}B/@copies{/#copies X}B/FMat[1 0 0 -1 0 0] -N/FBB[0 0 0 0]N/nn 0 N/IEn 0 N/ctr 0 N/df-tail{/nn 8 dict N nn begin -/FontType 3 N/FontMatrix fntrx N/FontBBox FBB N string/base X array -/BitMaps X/BuildChar{CharBuilder}N/Encoding IEn N end A{/foo setfont}2 -array copy cvx N load 0 nn put/ctr 0 N[}B/sf 0 N/df{/sf 1 N/fntrx FMat N -df-tail}B/dfs{div/sf X/fntrx[sf 0 0 sf neg 0 0]N df-tail}B/E{pop nn A -definefont setfont}B/Cw{Cd A length 5 sub get}B/Ch{Cd A length 4 sub get -}B/Cx{128 Cd A length 3 sub get sub}B/Cy{Cd A length 2 sub get 127 sub} -B/Cdx{Cd A length 1 sub get}B/Ci{Cd A type/stringtype ne{ctr get/ctr ctr -1 add N}if}B/id 0 N/rw 0 N/rc 0 N/gp 0 N/cp 0 N/G 0 N/CharBuilder{save 3 -1 roll S A/base get 2 index get S/BitMaps get S get/Cd X pop/ctr 0 N Cdx -0 Cx Cy Ch sub Cx Cw add Cy setcachedevice Cw Ch true[1 0 0 -1 -.1 Cx -sub Cy .1 sub]/id Ci N/rw Cw 7 add 8 idiv string N/rc 0 N/gp 0 N/cp 0 N{ -rc 0 ne{rc 1 sub/rc X rw}{G}ifelse}imagemask restore}B/G{{id gp get/gp -gp 1 add N A 18 mod S 18 idiv pl S get exec}loop}B/adv{cp add/cp X}B -/chg{rw cp id gp 4 index getinterval putinterval A gp add/gp X adv}B/nd{ -/cp 0 N rw exit}B/lsh{rw cp 2 copy get A 0 eq{pop 1}{A 255 eq{pop 254}{ -A A add 255 and S 1 and or}ifelse}ifelse put 1 adv}B/rsh{rw cp 2 copy -get A 0 eq{pop 128}{A 255 eq{pop 127}{A 2 idiv S 128 and or}ifelse} -ifelse put 1 adv}B/clr{rw cp 2 index string putinterval adv}B/set{rw cp -fillstr 0 4 index getinterval putinterval adv}B/fillstr 18 string 0 1 17 -{2 copy 255 put pop}for N/pl[{adv 1 chg}{adv 1 chg nd}{1 add chg}{1 add -chg nd}{adv lsh}{adv lsh nd}{adv rsh}{adv rsh nd}{1 add adv}{/rc X nd}{ -1 add set}{1 add clr}{adv 2 chg}{adv 2 chg nd}{pop nd}]A{bind pop} -forall N/D{/cc X A type/stringtype ne{]}if nn/base get cc ctr put nn -/BitMaps get S ctr S sf 1 ne{A A length 1 sub A 2 index S get sf div put -}if put/ctr ctr 1 add N}B/I{cc 1 add D}B/bop{userdict/bop-hook known{ -bop-hook}if/SI save N @rigin 0 0 moveto/V matrix currentmatrix A 1 get A -mul exch 0 get A mul add .99 lt{/QV}{/RV}ifelse load def pop pop}N/eop{ -SI restore userdict/eop-hook known{eop-hook}if showpage}N/@start{ -userdict/start-hook known{start-hook}if pop/VResolution X/Resolution X -1000 div/DVImag X/IEn 256 array N 2 string 0 1 255{IEn S A 360 add 36 4 -index cvrs cvn put}for pop 65781.76 div/vsize X 65781.76 div/hsize X}N -/p{show}N/RMat[1 0 0 -1 0 0]N/BDot 260 string N/Rx 0 N/Ry 0 N/V{}B/RV/v{ -/Ry X/Rx X V}B statusdict begin/product where{pop false[(Display)(NeXT) -(LaserWriter 16/600)]{A length product length le{A length product exch 0 -exch getinterval eq{pop true exit}if}{pop}ifelse}forall}{false}ifelse -end{{gsave TR -.1 .1 TR 1 1 scale Rx Ry false RMat{BDot}imagemask -grestore}}{{gsave TR -.1 .1 TR Rx Ry scale 1 1 false RMat{BDot} -imagemask grestore}}ifelse B/QV{gsave newpath transform round exch round -exch itransform moveto Rx 0 rlineto 0 Ry neg rlineto Rx neg 0 rlineto -fill grestore}B/a{moveto}B/delta 0 N/tail{A/delta X 0 rmoveto}B/M{S p -delta add tail}B/b{S p tail}B/c{-4 M}B/d{-3 M}B/e{-2 M}B/f{-1 M}B/g{0 M} -B/h{1 M}B/i{2 M}B/j{3 M}B/k{4 M}B/w{0 rmoveto}B/l{p -4 w}B/m{p -3 w}B/n{ -p -2 w}B/o{p -1 w}B/q{p 1 w}B/r{p 2 w}B/s{p 3 w}B/t{p 4 w}B/x{0 S -rmoveto}B/y{3 2 roll p a}B/bos{/SS save N}B/eos{SS restore}B end -% This file can be used instead of psslurs.pro, it is only commented -% and indented. -% -% VERSION: 1.0 -% -% WARNING! This is a heavy magic! If you want something more understandable, -% you will have to write it yourself (if it is possible in a stack-oriented -% language that PostScript is). There are some constants you can -% change and see what happens, but I think the slurs should be almost -% always satisfiable. When not, let me know at: -% standa@hiero.cz -% Also any bug reports and comments are welcomed. -% -% Stanislav Kneifl. -/slur@Dict 200 dict def -% this dictionary is for \setslurtext, overriding some dvips's definitions -/temp@xx@dict 4 dict def temp@xx@dict begin - /a { moveto ax1 ay1 rmoveto } def - /V {gsave newpath transform round exch round exch itransform - exch ax1 add exch ay1 add moveto rulex 0 rlineto 0 ruley neg - rlineto rulex neg 0 rlineto fill grestore} def -end -TeXDict begin -% get dimen from TeX's string ("125pt" -> 125 PS points) -/GD { dup length 2 sub 0 exch getinterval cvr 1.045 mul} def -% get dimen adjusted to Resolution -/GDAR { dup length 2 sub 0 exch getinterval cvr 4 AR mul 1.045 mul} def -% Adjust to Resolution -/AR { Resolution mul 300 div } def -% the distances in dvips's PostScript are resolution dependant! -end -slur@Dict begin -/CP /currentpoint load def -/ED { exch def } bind def -/AR { Resolution mul 300 div } def % stands for Adjust to Resolution, -/VS { dup /ay1 exch ay1 exch linew mul 4 mul add def /ay2 exch ay2 exch linew mul 4 mul add def } def -/y { 3 2 roll ax1 ay1 rmoveto show moveto } def -/M { mul } def -/A { add } def -/SB { sub } def -/P { pop } def -/DP { dup } def -/R { roll } def -/drawseg { 0 0 moveto - ax1 ay1 - ax1 0.6 mul ax2 0.4 mul add ay1 0.6 mul ay2 0.4 mul add - ax1 ax2 add 2 div ay1 ay2 add 2 div curveto - ax1 0.4 mul ax2 0.6 mul add ay1 0.4 mul ay2 0.6 mul add - ax2 ay2 - x2 0 curveto } def -/DS { - AR /maxe ED - /ifadjust ED - /ifdash ED - AR /m ED % max height of the slur - /e ED % "angularity" of the slur; 0.1 = very angular, - % 0.3 = very round - /aa exch neg def % what to multiply the height with - % AFTER the max height checking - /y2 ED % y coordinate of the end of the slur - /x2 ED % x coordinate of the end of the slur - /y1 ED % y coordinate of the beginning of the slur - /x1 ED % x coordinate of the beginning of the slur - /yr2 ED - /yr1 ED - /internote ED - /x2 x2 x1 sub def % x2=x2-x1 - /y2 y2 y1 sub def % y2=y2-y1 - /sx y2 x2 div def - /b x2 300 mul Resolution div abs sqrt AR 2 mul def % b=2*sqrt(x2) - b 3 AR lt {/b 3 AR def} if % b=max(b,3) - b m gt {/b m def} if % b=min(b,m) - /aa b aa mul def % aa=aa*b - /s 90 x2 y2 atan sub def % s=90-arctan(x2,y2) slope of the slur - /aa aa s cos div def % aa=aa/cos(s) height of the slur - /x2 s neg cos x2 mul s neg sin y2 mul sub def % x2 = x2*cos(-s) - y2*sin(-s) - % is the length of the slur - e x2 mul maxe gt { /e maxe x2 div def } if - /beta e x2 mul aa neg atan def - beta 90 gt {/beta 180 beta sub def} if - /ax1 e x2 mul def % control points - /ay1 aa def - /ax2 1 e sub x2 mul def - /ay2 aa def -% check if the starting and endin vector stay in desired quadrants -% => beta < abs(s) - beta s abs lt { - /b aa abs s abs 2 add sin mul s abs 2 add cos div def - s aa mul 0 lt { - s cos 0.75 lt { /ax1 ax1 b 1 s cos sub mul 0.5 mul sub def /ay1 ay1 s cos mul 0.8 mul def } if -% ^^^^ ^^^ ^^^ -% (values to play with) - /ax2 x2 b sub def - } - { - /ax1 b def - s cos 0.75 lt { /ax2 b 1 s cos sub mul 0.5 mul ax2 add def /ay2 ay2 s cos mul 0.8 mul def } if -% ^^^^ ^^^ ^^^ - } ifelse - } if -% align the slur to the staff lines - gsave - x1 y1 translate - s rotate -% [1 0 sx 1 0 0] concat - drawseg - gsave - initmatrix - flattenpath - pathbbox - exch pop - sub - /slh ED % in slh we have the height of the whole slur - pop - grestore - /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def - /slh yr slh internote div aa 0 gt { add } { sub } ifelse 2 div def -% check if the slur gets too close to staff line - /shift 0 def - slh 4.45 lt slh -0.5 gt and { - /slh slh dup truncate sub def - slh 0 lt { /slh 1 slh add def } if - aa 0 gt { /slh 1 slh sub def } if - % slh now contains the position ot the slur top/bottom in the space - % between the nearest staff lines (from <0,1>), regardless direction - % slur is too low: - slh 0.45 lt { /shift 0.45 slh sub def } if - % slur is too high, but we can be shift it down: - slh 0.7 gt slh 0.85 lt and { /shift 0.7 slh sub def } if - % slur is too high, must be shifted up: - slh 0.85 ge { /shift 1.45 slh sub def } if - } if - aa 0 gt { /shift shift neg def } if - ifadjust 0 eq { - /shift 0 def - } if -% and finally draw it... - grestore - gsave - /linew internote 0.06 mul AR def - linew 4 mul setlinewidth - 1 setlinecap - 0 setlinejoin - ifdash 1 eq - { [internote 8 mul AR internote 5 mul AR] 0 setdash } if - x1 y1 shift neg 2 mul internote mul 4 AR mul add translate - s rotate -% [1 sx 0 1 0 0] concat -% uncomment this to see the control points -% 5 AR setlinewidth ax1 ay1 moveto 0.1 0 rlineto stroke -% ax2 ay2 moveto 0.1 0 rlineto stroke linew setlinewidth - drawseg - 1 VS - drawseg - -2 VS - drawseg - x2 20 AR gt { - 3 VS - drawseg - } if - x2 50 AR gt { - -4 VS - drawseg - } if - x2 80 AR gt { - 5 VS - drawseg - } if - stroke - grestore - % now some \slurtext code... - /x1 ax1 ax2 add 2 div def % middle of the slur - /y1 ay1 ay2 add 2 div def - x1 s cos mul y1 s sin mul add neg - y1 s cos mul x1 s sin mul sub - aa 0 lt {1} {0} ifelse - end - % this is a hack to place the slurtext in the middle of the slur. - % From unknown reasons simple 'ax1 ay1 translate' did not work, - % so we have to overlay some definitions with our own, namely - % 'a', which is originally 'moveto' and 'V' for drawing rules. - % maybe there are some other operations that should be redefined, - % but for almost all cases this will be sufficient. If you find - % anything that won't be typeset at the correct position, let me know... - temp@xx@dict begin - /dir exch def - /ay1 exch def - /ax1 exch def -} def -% crescendos -/DC { - /y2 ED - /x2 ED - /y1 ED - /x1 ED - gsave - 1 AR ceiling setlinewidth % line thickness: this results - 1 setlinecap % to exactly 2 pixels in 300 dpi - 1 setlinejoin - x2 y2 10 AR add moveto % the 10's specify wideness of the - x1 y1 lineto % open end of the crescendo, - x2 y2 10 AR sub lineto % similarly the 11's below - stroke - grestore -} def -% half crescendos -/DHC { - /y2 ED - /x2 ED - /y1 ED - /x1 ED - gsave - 1 AR ceiling setlinewidth - 1 setlinecap - 1 setlinejoin - x2 y2 11 AR add moveto - x1 y1 4 AR add lineto stroke - x1 y1 4 AR sub moveto - x2 y2 11 AR sub lineto - stroke - grestore -} def -% differenced line -/DLN { - gsave - GDAR ceiling setlinewidth - GDAR exch GDAR neg rlineto - stroke - grestore -} def -% sloped line -/DSLN { - gsave - GDAR ceiling setlinewidth - GDAR exch 1.125 mul neg rotate 0 rlineto - stroke - grestore -} def -% free line (init & terminate) -/DFLN { - gsave - GDAR ceiling setlinewidth - CP moveto - lineto - stroke - grestore -} def -end -%! 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All Rights Reserved. -11 dict begin -/FontInfo 7 dict dup begin -/version (1.0) readonly def -/Notice (Copyright (C) 1997 American Mathematical Society. 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All Rights Reserved. -11 dict begin -/FontInfo 7 dict dup begin -/version (1.00B) readonly def -/Notice (Copyright (C) 1997 American Mathematical Society. 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757 15 -615 v 14917 757 a Fg(\010)p 17073 4395 15 703 v 17073 -3692 15 1617 v 17073 669 15 703 v 15663 1381 a Fc(-)794 -b(-)17087 4395 y - slur@Dict begin /pss@rega 0 N /psc@rega 0 N /pst@rega 0 N end - 17087 4395 a -1540 10242 18628 15 v --1540 10418 V -1540 10593 V -1540 10769 V -1540 10945 -V -1540 8625 V -1540 8766 V -1540 8906 V -1540 9047 V --1540 9188 V -1540 6517 V -1540 6692 V -1540 6868 V -1540 -7044 V -1540 7219 V -1540 10945 15 4436 v -1716 6202 -a Fb(33)-1540 9796 y Fi(\240)-1540 10411 y Fg(I)-1487 -9040 y Ff(G)-1540 7037 y Fg(G)-960 10762 y(2)-957 8899 -y Ff(2)-960 6861 y Fg(2)-367 10674 y(\011)p -410 9328 -296 15 v -409 9469 V -366 9532 a Ff(\011)p -408 9328 -V -365 9321 a(\011)-367 9181 y(\011)-584 7924 y Fc(gno.)p --420 7395 370 15 v -366 7388 a Fg(\011)p 1694 10938 15 -703 v 1694 10235 15 1617 v 1694 7212 15 703 v 2276 10674 -15 615 v 2073 10674 a(\010)p 2030 9328 254 15 v -1353 -x Ff(\010)p 2031 9328 V 2032 9469 V 2075 9865 15 545 -v 2076 9532 a(\010)p 2233 9181 15 492 v 2072 9181 a(\010)1865 -7924 y Fc(Que)p 2276 7037 15 615 v 2073 7037 a Fg(\007)2073 -6949 y(\000)2768 7924 y Fc(-)278 b(sto,)p 3536 7212 15 -572 v 3537 7212 a Fg(\()-204 b(\007)p 4264 10850 15 615 -v 4061 10850 a(\007)p 4018 9328 254 15 v 4019 9469 V -4062 9462 a Ff(\010)p 4020 9328 V 4063 9795 15 474 v -4064 9321 a(\010)p 4222 9181 15 492 v 4061 9181 a(\007)3897 -7924 y Fc(que)p 4264 6949 15 615 v 4061 6949 a Fg(\007)p -5294 11026 V 5091 11026 a(\007)p 5252 9110 15 492 v -1916 -x Ff(\007)4644 7924 y Fc(-)209 b(sto)p 5294 7037 15 572 -v 5295 7037 a Fg(\()-204 b(\007)5563 7924 y Fc(m'ac)p -6023 7125 V 6024 7125 a Fg(\()g(\007)p 6547 10938 15 -703 v 6547 10235 15 1617 v 6547 7212 15 703 v 7129 10674 -15 615 v 6926 10674 a(\010)p 6883 9328 254 15 v -1353 -x Ff(\010)p 6884 9328 V 6885 9469 V 6928 9865 15 545 -v 6929 9532 a(\010)p 7087 9181 15 492 v 6926 9181 a(\010)6516 -7924 y Fc(-)232 b(co)p 7129 7037 15 615 v 6926 7037 a -Fg(\010)p 8586 11026 V 8383 11026 a(\010)p 8340 9328 -254 15 v 8341 9469 V 8384 9462 a Ff(\010)p 8342 9328 -V 8385 9795 15 474 v 8386 9321 a(\010)p 8543 9110 15 -492 v 8382 9110 a(\010)7681 7924 y Fc(-)484 b(ra:)p 8586 -7125 15 572 v 8587 7125 a Fg(\()-204 b(\007)8859 7924 -y Fc(c)-10 b(h'al)p 9314 7125 V 9315 7125 a Fg(\()-204 -b(\007)9606 7924 y Fc(-)35 b(tri)p 10042 7125 V 10043 -7125 a Fg(\()-204 b(\007)10506 7924 y Fc(ca)p 10770 7212 -V 10771 7212 a Fg(\()g(\007)p 11295 10938 15 703 v 11295 -10235 15 1617 v 11295 7212 15 703 v 11877 10762 15 615 -v 11674 10762 a(\007)11673 9251 y Ff(\010)p 11631 9328 -254 15 v 11674 9725 15 474 v 11675 9391 a(\010)p 11835 -9110 15 492 v 11674 9110 a(\010)11094 7924 y Fc(-)255 -b(deo,)p 11877 7300 15 615 v 11674 7300 a Fg(\010)p 12907 -10762 15 572 v 12704 10762 a(\007)12908 10191 y(\303)13080 -10200 y(\303)p 13636 10850 15 623 v 13433 10850 a(\007)14192 -11202 y(Z)p 14364 10938 15 615 v 14161 10938 a(\010)p -14118 9328 254 15 v -1547 x Ff(\010)p 14161 9725 15 474 -v 14162 9251 a(\010)p 14322 9040 15 492 v 14161 9040 -a(\010)14160 7212 y Fg(?)14638 7924 y Fc(c)-10 b(h'al)p -14888 7432 15 572 v 14889 7432 a Fg(-)14889 6861 y(\007)15385 -7924 y Fc(-)34 b(tri)p 15617 7432 V 15618 7432 a Fg(-)15618 -6861 y(\007)16285 7924 y Fc(ca)p 16549 6949 V 16550 6949 -a Fg(\()-204 b(\007)p 17073 10938 15 703 v 17073 10235 -15 1617 v 17073 7212 15 703 v 16793 7924 a Fc(-)17087 -10938 y - slur@Dict begin /pss@rega 0 N /psc@rega 0 N /pst@rega 0 N end - 17087 10938 a -1540 16521 18628 15 v -1540 16697 -V -1540 16873 V -1540 17049 V -1540 17224 V -1540 14905 -V -1540 15045 V -1540 15186 V -1540 15326 V -1540 15467 -V -1540 12796 V -1540 12972 V -1540 13147 V -1540 13323 -V -1540 13499 V -1540 17224 15 4436 v -1716 12481 a Fb(37)-1540 -16075 y Fi(\240)-1540 16690 y Fg(I)-1487 15319 y Ff(G)-1540 -13316 y Fg(G)-960 17042 y(2)-957 15179 y Ff(2)-960 13140 -y Fg(2)p -178 16954 15 615 v -381 16954 a(\007)-382 15460 -y Ff(\010)p -425 15608 254 15 v -382 15960 15 501 v -381 -15601 a(\010)p -221 15319 15 492 v -382 15319 a(\010)-541 -14204 y Fc(deo)p -178 13316 15 615 v -381 13316 a Fg(\010)p -810 16954 15 572 v 607 16954 a(\007)811 16383 y(\303)953 -16390 y(\303)p 1509 17042 15 625 v 1306 17042 a(\007)2035 -17569 y Fc(6)p 2207 17129 15 615 v 2004 17129 a Fg(\007)p -3605 17217 V 3402 17217 a(\007)2004 15390 y Ff(\007)p -1961 15608 254 15 v 2004 15960 15 571 v 2005 15601 a(\007)3401 -15319 y(\007)p 3401 15916 15 597 v 3402 15530 a(\007)p -2165 15249 15 492 v 2004 15249 a(\007)p 3562 15179 V -3401 15179 a(\007)2004 13492 y Fg(?)2573 14204 y Fc(dal)p -2702 13624 15 572 v 2703 13624 a Fg(-)2703 13053 y(\007)3321 -14204 y Fc(pa)p 3401 13624 V 3402 13624 a Fg(-)3402 13053 -y(\007)3811 14204 y Fc(-)120 b(ra)p 4099 13712 V 4100 -13712 a Fg(-)4100 13140 y(\007)p 4798 17217 15 703 v -4798 16514 15 1617 v 4798 13492 15 703 v 5365 17305 15 -615 v 5162 17305 a(\010)7170 17569 y Fc(6)p 7342 17129 -V 7139 17129 a Fg(\007)p 8331 17042 V 8128 17042 a(\007)p -5161 15802 15 413 v 5162 15390 a Ff(\010)p 7096 15608 -254 15 v 7139 15960 15 360 v 7140 15601 a(\010)p 5323 -15249 15 492 v 5162 15249 a(\010)p 7300 15249 V 1977 -w(\010)4682 14204 y Fc(-)321 b(di)p 5365 13228 15 615 -v 5162 13228 a Fg(\007)5575 14204 y Fc(-)162 b(so)6052 -14364 y Fb(^)6286 14204 y Fc(an)p 6150 13755 V 6151 13140 -a Fg(\007)7262 12912 y - slur@Dict begin CP /S0y1 ED /S0x1 ED /S0hgt (16.50002pt) GD N /S0brk -S0hgt (2.5pt) GD 1 1 M M A N /S0lift 0 N /S0alt (106.0pt) GDAR N /S0dir -1 N /S0dash 0 N /S0adj 1 N end - 7262 12912 a 6839 14204 a Fc(-)183 -b(co)p 7139 13667 15 615 v 7140 13053 a Fg(\010)p 9116 -17217 15 703 v 9116 16514 15 1617 v 9116 13492 15 703 -v 9479 16954 a(\011)9479 15460 y Ff(\011)p 9437 15608 -296 15 v 9480 15601 a(\011)9479 15319 y(\011)9585 13053 -y - slur@Dict begin (2.5pt) GD S0hgt (12.5pt) GD 1.6 (2.5pt) GD M S0dir -M A S0x1 S0y1 CP (4.00002pt) GDAR S0dir M SB 0.7 S0dir M 0.17 40 S0dash -S0adj 90 DS /ay1 ay1 (0.0pt) GDAR -10 AR add dir mul add def - 9585 13053 a 9585 13053 a - end - 9585 13053 a 9479 13624 15 -572 v -105 w Fg(\007)p 10178 13693 15 554 v 10179 13140 -a(\007)10179 13562 y(\310)10403 13584 y(\310)9479 13624 -y(\312)9561 13631 y(\312)p 10670 13742 15 515 v 10671 -13228 a(\007)p 11367 13316 15 616 v 11164 13316 a(\007)p -11859 13404 15 654 v 11656 13404 a(\007)p 12352 13492 -15 693 v 12149 13492 a(\007)11367 12833 y(\312)11728 -12869 y(\312)11367 12701 y(\312)11728 12737 y(\312)p -12844 13580 15 731 v 12641 13580 a(\007)p 13337 13492 -15 616 v 13134 13492 a(\007)p 13829 13580 15 703 v 13626 -13580 a(\007)p 14065 13675 317 15 v 14322 13668 15 791 -v 14119 13668 a(\007)p 13337 13051 1485 85 v 13337 12919 -V 14814 13580 15 703 v 14611 13580 a(\007)p 15307 13492 -15 791 v 15104 13492 a(\007)p 15800 13404 15 753 v 15597 -13404 a(\007)p 16292 13316 15 714 v 16089 13316 a(\007)15307 -12833 y(\212)15668 12797 y(\212)15307 12701 y(\212)15668 -12665 y(\212)p 16785 13228 15 675 v 16582 13228 a(\007)p -17073 17217 15 703 v 17073 16514 15 1617 v 17073 13492 -15 703 v 8099 14204 a Fc(-)1257 b(-)g(-)f(-)h(-)g(-)g(-)17087 -17217 y - slur@Dict begin /pss@rega 0 N /psc@rega 0 N /pst@rega 0 N end - 17087 17217 a -1540 22801 18628 15 v -1540 22977 -V -1540 23152 V -1540 23328 V -1540 23504 V -1540 21184 -V -1540 21325 V -1540 21465 V -1540 21606 V -1540 21746 -V -1540 19075 V -1540 19251 V -1540 19427 V -1540 19603 -V -1540 19778 V -1540 23504 15 4436 v -1716 18761 a Fb(40)-1540 -22355 y Fi(\240)-1540 22970 y Fg(I)-1487 21599 y Ff(G)-1540 -19596 y Fg(G)-960 23321 y(2)-957 21458 y Ff(2)-960 19420 -y Fg(2)-301 23233 y(\011)p -343 21887 296 15 v -342 22028 -V -299 22091 a Ff(\011)p -341 21887 V -298 21880 a(\011)-301 -21739 y(\011)p -97 19596 15 528 v -300 19596 a Fg(\007)p -254 19954 317 15 v 511 19947 15 849 v 308 19947 a(\007)p -1119 19859 15 730 v 916 19859 a(\007)-97 19200 y(\304)610 -19235 y(\304)-97 19068 y(\304)610 19104 y(\304)p 1726 -19771 15 612 v 1523 19771 a(\007)p 2334 19683 15 791 -v 2131 19683 a(\007)p 2942 19596 15 764 v 2739 19596 -a(\007)p 3549 19508 15 737 v 3346 19508 a(\007)2334 19024 -y(\212)3040 18954 y(\212)2334 18893 y(\212)3040 18822 -y(\212)p 4157 19420 15 710 v 3954 19420 a(\007)p 4765 -19332 15 616 v 4562 19332 a(\007)p 5372 19420 15 643 -v 5169 19420 a(\007)p 5980 19508 15 670 v 5777 19508 -a(\007)4765 18849 y(\312)5471 18919 y(\312)4765 18717 -y(\312)5471 18787 y(\312)p 6588 19596 15 697 v 6385 19596 -a(\007)p 7195 19508 15 616 v 6992 19508 a(\007)p 7803 -19596 15 703 v 7600 19596 a(\007)p 8411 19508 15 616 -v 8208 19508 a(\007)p 7195 19067 1831 85 v 7195 18935 -V 9019 19683 15 791 v 8816 19683 a(\007)p 9422 23497 -15 703 v 9422 22794 15 1617 v 9422 19771 15 703 v 9867 -23848 a Fa(11)10159 23286 y - slur@Dict begin CP /S0y1 ED /S0x1 ED /S0hgt (5.99998pt) GD N /S0brk -S0hgt (2.5pt) GD 1 -1 M M A N /S0lift 0 N /S0alt (0.0pt) GDAR N /S0dir --1 N /S0dash 0 N /S0adj 1 N end - 10159 23286 a 10071 23233 -15 615 v 9868 23233 a Fg(\010)p 9825 21887 296 15 v 9826 -22028 V 9869 22091 a Ff(\011)p 9658 21887 254 15 v 9701 -22240 15 360 v 9702 21880 a(\010)9867 21810 y(\000)p -10029 21669 15 492 v 9868 21669 a(\010)9867 19596 y Fg(\011)11591 -23848 y Fa(10)11528 23145 y - slur@Dict begin (2.5pt) GD S0hgt (10.0pt) GD 1.6 (2.5pt) GD M S0dir -M A S0x1 S0y1 CP (4.00002pt) GDAR S0dir M SB 0.7 S0dir M 0.17 40 S0dash -S0adj 90 DS /ay1 ay1 (0.0pt) GDAR -10 AR add dir mul add def - 11528 23145 a 11528 23145 -a - end - 11528 23145 a 11883 23286 a - slur@Dict begin CP /S0y1 ED /S0x1 ED /S0hgt (5.99998pt) GD N /S0brk -S0hgt (2.5pt) GD 1 -1 M M A N /S0lift 0 N /S0alt (0.0pt) GDAR N /S0dir --1 N /S0dash 0 N /S0adj 1 N end - 11883 23286 a 11795 23233 -15 615 v 11592 23233 a Fg(\007)12843 23848 y Fc(7)12748 -23145 y - slur@Dict begin (2.5pt) GD S0hgt (10.0pt) GD 1.6 (2.5pt) GD M S0dir -M A S0x1 S0y1 CP (4.00002pt) GDAR S0dir M SB 0.7 S0dir M 0.17 40 S0dash -S0adj 90 DS /ay1 ay1 (0.0pt) GDAR -10 AR add dir mul add def - 12748 23145 a 12748 23145 a - end - 12748 23145 a 13015 -23233 15 615 v 12812 23233 a Fg(\007)p 12769 21887 254 -15 v 12812 22284 15 334 v 12813 21950 a Ff(\007)p 11753 -21739 15 492 v 11592 21739 a(\010)p 14031 23497 15 703 -v 14031 22794 15 1617 v 14031 19771 15 703 v 14476 23585 -a Fg(\011)p 14434 21887 296 15 v 14435 22028 V 14478 -22021 a Ff(\011)14476 21669 y(\011)-104 20483 y Fc(-)g(-)f(-)h(-)f(-)g -(-)h(-)f(-)h(-)f(-)g(-)629 b(ra.)14476 19683 y Fg(\011)p -16915 23497 15 703 v 16915 22794 15 1617 v 16915 19771 -15 703 v 16982 23497 106 703 v 16982 22794 106 1617 v -16982 19771 106 703 v 17087 23497 a - slur@Dict begin /pss@rega 0 N /psc@rega 0 N /pst@rega 0 N end - 17087 23497 a eop -end -userdict /end-hook known{end-hook}if -%%Trailer -cleartomark -countdictstack -exch sub { end } repeat -restore -%%EOF diff --git a/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/chords.eps b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/chords.eps deleted file mode 100644 index 05abb30922f..00000000000 --- a/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/chords.eps +++ /dev/null @@ -1,710 +0,0 @@ -%% LaTeX2e file `eps/chords.eps' -%% generated by the `filecontents' environment -%% from source `pmxccn' on 2011/07/14. -%% -%!PS-Adobe-3.0 EPSF-3.0 -%%Creator: dvips(k) 5.90a Copyright 2002 Radical Eye Software -%%Title: chords.dvi -%%CreationDate: Sun Sep 28 15:39:31 2003 -%%Pages: 1 -%%PageOrder: Ascend -%%BoundingBox: 20 706 453 793 -%%DocumentFonts: TeXMUSIXSPX-Regular TeXMUSIX16-Regular -%%EndComments -%DVIPSWebPage: (www.radicaleye.com) -%DVIPSCommandLine: C:\MIKTEX\TEXMF\MIKTEX\BIN\DVIPS.EXE chords.dvi -%DVIPSParameters: dpi=600, compressed -%DVIPSSource: TeX output 2003.09.28:1539 -%%BeginProcSet: texc.pro -%! -/TeXDict 300 dict def TeXDict begin/N{def}def/B{bind def}N/S{exch}N/X{S -N}B/A{dup}B/TR{translate}N/isls false N/vsize 11 72 mul N/hsize 8.5 72 -mul N/landplus90{false}def/@rigin{isls{[0 landplus90{1 -1}{-1 1}ifelse 0 -0 0]concat}if 72 Resolution div 72 VResolution div neg scale isls{ -landplus90{VResolution 72 div vsize mul 0 exch}{Resolution -72 div hsize -mul 0}ifelse TR}if Resolution VResolution vsize -72 div 1 add mul TR[ -matrix currentmatrix{A A round sub abs 0.00001 lt{round}if}forall round -exch round exch]setmatrix}N/@landscape{/isls true N}B/@manualfeed{ -statusdict/manualfeed true put}B/@copies{/#copies X}B/FMat[1 0 0 -1 0 0] -N/FBB[0 0 0 0]N/nn 0 N/IE 0 N/ctr 0 N/df-tail{/nn 8 dict N nn begin -/FontType 3 N/FontMatrix fntrx N/FontBBox FBB N string/base X array -/BitMaps X/BuildChar{CharBuilder}N/Encoding IE N end A{/foo setfont}2 -array copy cvx N load 0 nn put/ctr 0 N[}B/sf 0 N/df{/sf 1 N/fntrx FMat N -df-tail}B/dfs{div/sf X/fntrx[sf 0 0 sf neg 0 0]N df-tail}B/E{pop nn A -definefont setfont}B/Cw{Cd A length 5 sub get}B/Ch{Cd A length 4 sub get -}B/Cx{128 Cd A length 3 sub get sub}B/Cy{Cd A length 2 sub get 127 sub} -B/Cdx{Cd A length 1 sub get}B/Ci{Cd A type/stringtype ne{ctr get/ctr ctr -1 add N}if}B/id 0 N/rw 0 N/rc 0 N/gp 0 N/cp 0 N/G 0 N/CharBuilder{save 3 -1 roll S A/base get 2 index get S/BitMaps get S get/Cd X pop/ctr 0 N Cdx -0 Cx Cy Ch sub Cx Cw add Cy setcachedevice Cw Ch true[1 0 0 -1 -.1 Cx -sub Cy .1 sub]/id Ci N/rw Cw 7 add 8 idiv string N/rc 0 N/gp 0 N/cp 0 N{ -rc 0 ne{rc 1 sub/rc X rw}{G}ifelse}imagemask restore}B/G{{id gp get/gp -gp 1 add N A 18 mod S 18 idiv pl S get exec}loop}B/adv{cp add/cp X}B -/chg{rw cp id gp 4 index getinterval putinterval A gp add/gp X adv}B/nd{ -/cp 0 N rw exit}B/lsh{rw cp 2 copy get A 0 eq{pop 1}{A 255 eq{pop 254}{ -A A add 255 and S 1 and or}ifelse}ifelse put 1 adv}B/rsh{rw cp 2 copy -get A 0 eq{pop 128}{A 255 eq{pop 127}{A 2 idiv S 128 and or}ifelse} -ifelse put 1 adv}B/clr{rw cp 2 index string putinterval adv}B/set{rw cp -fillstr 0 4 index getinterval putinterval adv}B/fillstr 18 string 0 1 17 -{2 copy 255 put pop}for N/pl[{adv 1 chg}{adv 1 chg nd}{1 add chg}{1 add -chg nd}{adv lsh}{adv lsh nd}{adv rsh}{adv rsh nd}{1 add adv}{/rc X nd}{ -1 add set}{1 add clr}{adv 2 chg}{adv 2 chg nd}{pop nd}]A{bind pop} -forall N/D{/cc X A type/stringtype ne{]}if nn/base get cc ctr put nn -/BitMaps get S ctr S sf 1 ne{A A length 1 sub A 2 index S get sf div put -}if put/ctr ctr 1 add N}B/I{cc 1 add D}B/bop{userdict/bop-hook known{ -bop-hook}if/SI save N @rigin 0 0 moveto/V matrix currentmatrix A 1 get A -mul exch 0 get A mul add .99 lt{/QV}{/RV}ifelse load def pop pop}N/eop{ -SI restore userdict/eop-hook known{eop-hook}if showpage}N/@start{ -userdict/start-hook known{start-hook}if pop/VResolution X/Resolution X -1000 div/DVImag X/IE 256 array N 2 string 0 1 255{IE S A 360 add 36 4 -index cvrs cvn put}for pop 65781.76 div/vsize X 65781.76 div/hsize X}N -/p{show}N/RMat[1 0 0 -1 0 0]N/BDot 260 string N/Rx 0 N/Ry 0 N/v{/Ry X -/Rx X V}B/V{}B/RV statusdict begin/product where{pop false[(Display) -(NeXT)(LaserWriter 16/600)]{A length product length le{A length product -exch 0 exch getinterval eq{pop true exit}if}{pop}ifelse}forall}{false} -ifelse end{{gsave TR -.1 .1 TR 1 1 scale Rx Ry false RMat{BDot} -imagemask grestore}}{{gsave TR -.1 .1 TR Rx Ry scale 1 1 false RMat{ -BDot}imagemask grestore}}ifelse B/QV{gsave newpath transform round exch -round exch itransform moveto Rx 0 rlineto 0 Ry neg rlineto Rx neg 0 -rlineto fill grestore}B/a{moveto}B/delta 0 N/tail{A/delta X 0 rmoveto}B -/M{S p delta add tail}B/b{S p tail}B/c{-4 M}B/d{-3 M}B/e{-2 M}B/f{-1 M} -B/g{0 M}B/h{1 M}B/i{2 M}B/j{3 M}B/k{4 M}B/w{0 rmoveto}B/l{p -4 w}B/m{p --3 w}B/n{p -2 w}B/o{p -1 w}B/q{p 1 w}B/r{p 2 w}B/s{p 3 w}B/t{p 4 w}B/x{ -0 S rmoveto}B/y{3 2 roll p a}B/bos{/SS save N}B/eos{SS restore}B end - -%%EndProcSet -%%BeginProcSet: psslurs.pro -% This file can be used instead of psslurs.pro, it is only commented -% and indented. -% -% VERSION: 1.0 -% -% WARNING! This is a heavy magic! If you want something more understandable, -% you will have to write it yourself (if it is possible in a stack-oriented -% language that PostScript is). There are some constants you can -% change and see what happens, but I think the slurs should be almost -% always satisfiable. When not, let me know at: -% standa@hiero.cz -% Also any bug reports and comments are welcomed. -% -% Stanislav Kneifl. - -/slur@Dict 200 dict def - -% this dictionary is for \setslurtext, overriding some dvips's definitions -/temp@xx@dict 4 dict def temp@xx@dict begin - /a { moveto ax1 ay1 rmoveto } def - /V {gsave newpath transform round exch round exch itransform - exch ax1 add exch ay1 add moveto rulex 0 rlineto 0 ruley neg - rlineto rulex neg 0 rlineto fill grestore} def -end - -TeXDict begin -% get dimen from TeX's string ("125pt" -> 125 PS points) -/GD { dup length 2 sub 0 exch getinterval cvr 1.045 mul} def -% get dimen adjusted to Resolution -/GDAR { dup length 2 sub 0 exch getinterval cvr 4 AR mul 1.045 mul} def -% Adjust to Resolution -/AR { Resolution mul 300 div } def -% the distances in dvips's PostScript are resolution dependant! -end - -slur@Dict begin -/CP /currentpoint load def -/ED { exch def } bind def -/AR { Resolution mul 300 div } def % stands for Adjust to Resolution, -/VS { dup /ay1 exch ay1 exch linew mul 4 mul add def /ay2 exch ay2 exch linew mul 4 mul add def } def -/y { 3 2 roll ax1 ay1 rmoveto show moveto } def -/M { mul } def -/A { add } def -/SB { sub } def -/P { pop } def -/DP { dup } def -/R { roll } def - -/drawseg { 0 0 moveto - ax1 ay1 - ax1 0.6 mul ax2 0.4 mul add ay1 0.6 mul ay2 0.4 mul add - ax1 ax2 add 2 div ay1 ay2 add 2 div curveto - ax1 0.4 mul ax2 0.6 mul add ay1 0.4 mul ay2 0.6 mul add - ax2 ay2 - x2 0 curveto } def - -/DS { - AR /maxe ED - /ifadjust ED - /ifdash ED - AR /m ED % max height of the slur - /e ED % "angularity" of the slur; 0.1 = very angular, - % 0.3 = very round - /aa exch neg def % what to multiply the height with - % AFTER the max height checking - /y2 ED % y coordinate of the end of the slur - /x2 ED % x coordinate of the end of the slur - /y1 ED % y coordinate of the beginning of the slur - /x1 ED % x coordinate of the beginning of the slur - /yr2 ED - /yr1 ED - /internote ED - /x2 x2 x1 sub def % x2=x2-x1 - /y2 y2 y1 sub def % y2=y2-y1 - /sx y2 x2 div def - /b x2 300 mul Resolution div abs sqrt AR 2 mul def % b=2*sqrt(x2) - b 3 AR lt {/b 3 AR def} if % b=max(b,3) - b m gt {/b m def} if % b=min(b,m) - /aa b aa mul def % aa=aa*b - /s 90 x2 y2 atan sub def % s=90-arctan(x2,y2) slope of the slur - /aa aa s cos div def % aa=aa/cos(s) height of the slur - /x2 s neg cos x2 mul s neg sin y2 mul sub def % x2 = x2*cos(-s) - y2*sin(-s) - % is the length of the slur - e x2 mul maxe gt { /e maxe x2 div def } if - /beta e x2 mul aa neg atan def - beta 90 gt {/beta 180 beta sub def} if - /ax1 e x2 mul def % control points - /ay1 aa def - /ax2 1 e sub x2 mul def - /ay2 aa def - -% check if the starting and endin vector stay in desired quadrants -% => beta < abs(s) - beta s abs lt { - /b aa abs s abs 2 add sin mul s abs 2 add cos div def - s aa mul 0 lt { - s cos 0.75 lt { /ax1 ax1 b 1 s cos sub mul 0.5 mul sub def /ay1 ay1 s cos mul 0.8 mul def } if -% ^^^^ ^^^ ^^^ -% (values to play with) - /ax2 x2 b sub def - } - { - /ax1 b def - s cos 0.75 lt { /ax2 b 1 s cos sub mul 0.5 mul ax2 add def /ay2 ay2 s cos mul 0.8 mul def } if -% ^^^^ ^^^ ^^^ - } ifelse - } if - -% align the slur to the staff lines - - gsave - x1 y1 translate - s rotate -% [1 0 sx 1 0 0] concat - drawseg - gsave - initmatrix - flattenpath - pathbbox - exch pop - sub - /slh ED % in slh we have the height of the whole slur - pop - grestore - - /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def - /slh yr slh internote div aa 0 gt { add } { sub } ifelse 2 div def -% check if the slur gets too close to staff line - /shift 0 def - slh 4.45 lt slh -0.5 gt and { - /slh slh dup truncate sub def - slh 0 lt { /slh 1 slh add def } if - aa 0 gt { /slh 1 slh sub def } if - - % slh now contains the position ot the slur top/bottom in the space - % between the nearest staff lines (from <0,1>), regardless direction - - % slur is too low: - slh 0.45 lt { /shift 0.45 slh sub def } if - % slur is too high, but we can be shift it down: - slh 0.7 gt slh 0.85 lt and { /shift 0.7 slh sub def } if - % slur is too high, must be shifted up: - slh 0.85 ge { /shift 1.45 slh sub def } if - } if - - aa 0 gt { /shift shift neg def } if - - ifadjust 0 eq { - /shift 0 def - } if - - -% and finally draw it... - - grestore - gsave - /linew internote 0.06 mul AR def - linew 4 mul setlinewidth - 1 setlinecap - 0 setlinejoin - ifdash 1 eq - { [internote 8 mul AR internote 5 mul AR] 0 setdash } if - x1 y1 shift neg 2 mul internote mul 4 AR mul add translate - s rotate -% [1 sx 0 1 0 0] concat - -% uncomment this to see the control points -% 5 AR setlinewidth ax1 ay1 moveto 0.1 0 rlineto stroke -% ax2 ay2 moveto 0.1 0 rlineto stroke linew setlinewidth - - drawseg - 1 VS - drawseg - -2 VS - drawseg - x2 20 AR gt { - 3 VS - drawseg - } if - x2 50 AR gt { - -4 VS - drawseg - } if - x2 80 AR gt { - 5 VS - drawseg - } if - stroke - - grestore - - % now some \slurtext code... - - /x1 ax1 ax2 add 2 div def % middle of the slur - /y1 ay1 ay2 add 2 div def - x1 s cos mul y1 s sin mul add neg - y1 s cos mul x1 s sin mul sub - aa 0 lt {1} {0} ifelse - end - - % this is a hack to place the slurtext in the middle of the slur. - % From unknown reasons simple 'ax1 ay1 translate' did not work, - % so we have to overlay some definitions with our own, namely - % 'a', which is originally 'moveto' and 'V' for drawing rules. - % maybe there are some other operations that should be redefined, - % but for almost all cases this will be sufficient. 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This is a heavy magic! If you want something more understandable, -% you will have to write it yourself (if it is possible in a stack-oriented -% language that PostScript is). There are some constants you can -% change and see what happens, but I think the slurs should be almost -% always satisfiable. 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0.1 = very angular, - % 0.3 = very round - /aa exch neg def % what to multiply the height with - % AFTER the max height checking - /y2 ED % y coordinate of the end of the slur - /x2 ED % x coordinate of the end of the slur - /y1 ED % y coordinate of the beginning of the slur - /x1 ED % x coordinate of the beginning of the slur - /yr2 ED - /yr1 ED - /internote ED - /x2 x2 x1 sub def % x2=x2-x1 - /y2 y2 y1 sub def % y2=y2-y1 - /sx y2 x2 div def - /b x2 300 mul Resolution div abs sqrt AR 2 mul def % b=2*sqrt(x2) - b 3 AR lt {/b 3 AR def} if % b=max(b,3) - b m gt {/b m def} if % b=min(b,m) - /aa b aa mul def % aa=aa*b - /s 90 x2 y2 atan sub def % s=90-arctan(x2,y2) slope of the slur - /aa aa s cos div def % aa=aa/cos(s) height of the slur - /x2 s neg cos x2 mul s neg sin y2 mul sub def % x2 = x2*cos(-s) - y2*sin(-s) - % is the length of the slur - e x2 mul maxe gt { /e maxe x2 div def } if - /beta e x2 mul aa neg atan def - beta 90 gt {/beta 180 beta sub def} if - /ax1 e x2 mul def % control points - /ay1 aa def - /ax2 1 e sub x2 mul def - /ay2 aa def - -% check if the starting and endin vector stay in desired quadrants -% => beta < abs(s) - beta s abs lt { - /b aa abs s abs 2 add sin mul s abs 2 add cos div def - s aa mul 0 lt { - s cos 0.75 lt { /ax1 ax1 b 1 s cos sub mul 0.5 mul sub def /ay1 ay1 s cos mul 0.8 mul def } if -% ^^^^ ^^^ ^^^ -% (values to play with) - /ax2 x2 b sub def - } - { - /ax1 b def - s cos 0.75 lt { /ax2 b 1 s cos sub mul 0.5 mul ax2 add def /ay2 ay2 s cos mul 0.8 mul def } if -% ^^^^ ^^^ ^^^ - } ifelse - } if - -% align the slur to the staff lines - - gsave - x1 y1 translate - s rotate -% [1 0 sx 1 0 0] concat - drawseg - gsave - initmatrix - flattenpath - pathbbox - exch pop - sub - /slh ED % in slh we have the height of the whole slur - pop - grestore - - /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def - /slh yr slh internote div aa 0 gt { add } { sub } ifelse 2 div def -% check if the slur gets too close to staff line - /shift 0 def - slh 4.45 lt slh -0.5 gt and { - /slh slh dup truncate sub def - slh 0 lt { /slh 1 slh add def } if - aa 0 gt { /slh 1 slh sub def } if - - % slh now contains the position ot the slur top/bottom in the space - % between the nearest staff lines (from <0,1>), regardless direction - - % slur is too low: - slh 0.45 lt { /shift 0.45 slh sub def } if - % slur is too high, but we can be shift it down: - slh 0.7 gt slh 0.85 lt and { /shift 0.7 slh sub def } if - % slur is too high, must be shifted up: - slh 0.85 ge { /shift 1.45 slh sub def } if - } if - - aa 0 gt { /shift shift neg def } if - - ifadjust 0 eq { - /shift 0 def - } if - - -% and finally draw it... - - grestore - gsave - /linew internote 0.06 mul AR def - linew 4 mul setlinewidth - 1 setlinecap - 0 setlinejoin - ifdash 1 eq - { [internote 8 mul AR internote 5 mul AR] 0 setdash } if - x1 y1 shift neg 2 mul internote mul 4 AR mul add translate - s rotate -% [1 sx 0 1 0 0] concat - -% uncomment this to see the control points -% 5 AR setlinewidth ax1 ay1 moveto 0.1 0 rlineto stroke -% ax2 ay2 moveto 0.1 0 rlineto stroke linew setlinewidth - - drawseg - 1 VS - drawseg - -2 VS - drawseg - x2 20 AR gt { - 3 VS - drawseg - } if - x2 50 AR gt { - -4 VS - drawseg - } if - x2 80 AR gt { - 5 VS - drawseg - } if - stroke - - grestore - - % now some \slurtext code... - - /x1 ax1 ax2 add 2 div def % middle of the slur - /y1 ay1 ay2 add 2 div def - x1 s cos mul y1 s sin mul add neg - y1 s cos mul x1 s sin mul sub - aa 0 lt {1} {0} ifelse - end - - % this is a hack to place the slurtext in the middle of the slur. - % From unknown reasons simple 'ax1 ay1 translate' did not work, - % so we have to overlay some definitions with our own, namely - % 'a', which is originally 'moveto' and 'V' for drawing rules. - % maybe there are some other operations that should be redefined, - % but for almost all cases this will be sufficient. 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When not, let me know at: -% standa@hiero.cz -% Also any bug reports and comments are welcomed. -% -% Stanislav Kneifl. - -/slur@Dict 200 dict def - -% this dictionary is for \setslurtext, overriding some dvips's definitions -/temp@xx@dict 4 dict def temp@xx@dict begin - /a { moveto ax1 ay1 rmoveto } def - /V {gsave newpath transform round exch round exch itransform - exch ax1 add exch ay1 add moveto rulex 0 rlineto 0 ruley neg - rlineto rulex neg 0 rlineto fill grestore} def -end - -TeXDict begin -% get dimen from TeX's string ("125pt" -> 125 PS points) -/GD { dup length 2 sub 0 exch getinterval cvr 1.045 mul} def -% get dimen adjusted to Resolution -/GDAR { dup length 2 sub 0 exch getinterval cvr 4 AR mul 1.045 mul} def -% Adjust to Resolution -/AR { Resolution mul 300 div } def -% the distances in dvips's PostScript are resolution dependant! -end - -slur@Dict begin -/CP /currentpoint load def -/ED { exch def } bind def -/AR { Resolution mul 300 div } def % stands for Adjust to Resolution, -/VS { dup /ay1 exch ay1 exch linew mul 4 mul add def /ay2 exch ay2 exch linew mul 4 mul add def } def -/y { 3 2 roll ax1 ay1 rmoveto show moveto } def -/M { mul } def -/A { add } def -/SB { sub } def -/P { pop } def -/DP { dup } def -/R { roll } def - -/drawseg { 0 0 moveto - ax1 ay1 - ax1 0.6 mul ax2 0.4 mul add ay1 0.6 mul ay2 0.4 mul add - ax1 ax2 add 2 div ay1 ay2 add 2 div curveto - ax1 0.4 mul ax2 0.6 mul add ay1 0.4 mul ay2 0.6 mul add - ax2 ay2 - x2 0 curveto } def - -/DS { - AR /maxe ED - /ifadjust ED - /ifdash ED - AR /m ED % max height of the slur - /e ED % "angularity" of the slur; 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a/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/clefnot.eps +++ /dev/null @@ -1,764 +0,0 @@ -%% LaTeX2e file `eps/clefnot.eps' -%% generated by the `filecontents' environment -%% from source `pmxccn' on 2011/07/14. -%% -%!PS-Adobe-3.0 EPSF-3.0 -%%Creator: dvips(k) 5.90a Copyright 2002 Radical Eye Software -%%Title: clefnot.dvi -%%CreationDate: Wed Jan 21 13:53:18 2004 -%%Pages: 1 -%%PageOrder: Ascend -%%BoundingBox: 28 740 483 782 -%%DocumentFonts: TeXMUSIX16-Regular CMTT10 -%%EndComments -%DVIPSWebPage: (www.radicaleye.com) -%DVIPSCommandLine: C:\MIKTEX\TEXMF\MIKTEX\BIN\DVIPS.EXE clefnot.dvi -%DVIPSParameters: dpi=600, compressed -%DVIPSSource: TeX output 2004.01.21:1353 -%%BeginProcSet: texc.pro -%! -/TeXDict 300 dict def TeXDict begin/N{def}def/B{bind def}N/S{exch}N/X{S -N}B/A{dup}B/TR{translate}N/isls false N/vsize 11 72 mul N/hsize 8.5 72 -mul N/landplus90{false}def/@rigin{isls{[0 landplus90{1 -1}{-1 1}ifelse 0 -0 0]concat}if 72 Resolution div 72 VResolution div neg scale isls{ 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N/CharBuilder{save 3 -1 roll S A/base get 2 index get S/BitMaps get S get/Cd X pop/ctr 0 N Cdx -0 Cx Cy Ch sub Cx Cw add Cy setcachedevice Cw Ch true[1 0 0 -1 -.1 Cx -sub Cy .1 sub]/id Ci N/rw Cw 7 add 8 idiv string N/rc 0 N/gp 0 N/cp 0 N{ -rc 0 ne{rc 1 sub/rc X rw}{G}ifelse}imagemask restore}B/G{{id gp get/gp -gp 1 add N A 18 mod S 18 idiv pl S get exec}loop}B/adv{cp add/cp X}B -/chg{rw cp id gp 4 index getinterval putinterval A gp add/gp X adv}B/nd{ -/cp 0 N rw exit}B/lsh{rw cp 2 copy get A 0 eq{pop 1}{A 255 eq{pop 254}{ -A A add 255 and S 1 and or}ifelse}ifelse put 1 adv}B/rsh{rw cp 2 copy -get A 0 eq{pop 128}{A 255 eq{pop 127}{A 2 idiv S 128 and or}ifelse} -ifelse put 1 adv}B/clr{rw cp 2 index string putinterval adv}B/set{rw cp -fillstr 0 4 index getinterval putinterval adv}B/fillstr 18 string 0 1 17 -{2 copy 255 put pop}for N/pl[{adv 1 chg}{adv 1 chg nd}{1 add chg}{1 add -chg nd}{adv lsh}{adv lsh nd}{adv rsh}{adv rsh nd}{1 add adv}{/rc X nd}{ -1 add set}{1 add clr}{adv 2 chg}{adv 2 chg nd}{pop nd}]A{bind pop} -forall N/D{/cc X A type/stringtype ne{]}if nn/base get cc ctr put nn -/BitMaps get S ctr S sf 1 ne{A A length 1 sub A 2 index S get sf div put -}if put/ctr ctr 1 add N}B/I{cc 1 add D}B/bop{userdict/bop-hook known{ -bop-hook}if/SI save N @rigin 0 0 moveto/V matrix currentmatrix A 1 get A -mul exch 0 get A mul add .99 lt{/QV}{/RV}ifelse load def pop pop}N/eop{ -SI restore userdict/eop-hook known{eop-hook}if showpage}N/@start{ -userdict/start-hook known{start-hook}if pop/VResolution X/Resolution X -1000 div/DVImag X/IE 256 array N 2 string 0 1 255{IE S A 360 add 36 4 -index cvrs cvn put}for pop 65781.76 div/vsize X 65781.76 div/hsize X}N -/p{show}N/RMat[1 0 0 -1 0 0]N/BDot 260 string N/Rx 0 N/Ry 0 N/v{/Ry X -/Rx X V}B/V{}B/RV statusdict begin/product where{pop false[(Display) -(NeXT)(LaserWriter 16/600)]{A length product length le{A length product -exch 0 exch getinterval eq{pop true exit}if}{pop}ifelse}forall}{false} -ifelse end{{gsave TR -.1 .1 TR 1 1 scale Rx Ry false RMat{BDot} -imagemask grestore}}{{gsave TR -.1 .1 TR Rx Ry scale 1 1 false RMat{ -BDot}imagemask grestore}}ifelse B/QV{gsave newpath transform round exch -round exch itransform moveto Rx 0 rlineto 0 Ry neg rlineto Rx neg 0 -rlineto fill grestore}B/a{moveto}B/delta 0 N/tail{A/delta X 0 rmoveto}B -/M{S p delta add tail}B/b{S p tail}B/c{-4 M}B/d{-3 M}B/e{-2 M}B/f{-1 M} -B/g{0 M}B/h{1 M}B/i{2 M}B/j{3 M}B/k{4 M}B/w{0 rmoveto}B/l{p -4 w}B/m{p --3 w}B/n{p -2 w}B/o{p -1 w}B/q{p 1 w}B/r{p 2 w}B/s{p 3 w}B/t{p 4 w}B/x{ -0 S rmoveto}B/y{3 2 roll p a}B/bos{/SS save N}B/eos{SS restore}B end - -%%EndProcSet -%%BeginProcSet: psslurs.pro -% This file can be used instead of psslurs.pro, it is only commented -% and indented. -% -% VERSION: 1.0 -% -% WARNING! This is a heavy magic! If you want something more understandable, -% you will have to write it yourself (if it is possible in a stack-oriented -% language that PostScript is). There are some constants you can -% change and see what happens, but I think the slurs should be almost -% always satisfiable. When not, let me know at: -% standa@hiero.cz -% Also any bug reports and comments are welcomed. -% -% Stanislav Kneifl. - -/slur@Dict 200 dict def - -% this dictionary is for \setslurtext, overriding some dvips's definitions -/temp@xx@dict 4 dict def temp@xx@dict begin - /a { moveto ax1 ay1 rmoveto } def - /V {gsave newpath transform round exch round exch itransform - exch ax1 add exch ay1 add moveto rulex 0 rlineto 0 ruley neg - rlineto rulex neg 0 rlineto fill grestore} def -end - -TeXDict begin -% get dimen from TeX's string ("125pt" -> 125 PS points) -/GD { dup length 2 sub 0 exch getinterval cvr 1.045 mul} def -% get dimen adjusted to Resolution -/GDAR { dup length 2 sub 0 exch getinterval cvr 4 AR mul 1.045 mul} def -% Adjust to Resolution -/AR { Resolution mul 300 div } def -% the distances in dvips's PostScript are resolution dependant! -end - -slur@Dict begin -/CP /currentpoint load def -/ED { exch def } bind def -/AR { Resolution mul 300 div } def % stands for Adjust to Resolution, -/VS { dup /ay1 exch ay1 exch linew mul 4 mul add def /ay2 exch ay2 exch linew mul 4 mul add def } def -/y { 3 2 roll ax1 ay1 rmoveto show moveto } def -/M { mul } def -/A { add } def -/SB { sub } def -/P { pop } def -/DP { dup } def -/R { roll } def - -/drawseg { 0 0 moveto - ax1 ay1 - ax1 0.6 mul ax2 0.4 mul add ay1 0.6 mul ay2 0.4 mul add - ax1 ax2 add 2 div ay1 ay2 add 2 div curveto - ax1 0.4 mul ax2 0.6 mul add ay1 0.4 mul ay2 0.6 mul add - ax2 ay2 - x2 0 curveto } def - -/DS { - AR /maxe ED - /ifadjust ED - /ifdash ED - AR /m ED % max height of the slur - /e ED % "angularity" of the slur; 0.1 = very angular, - % 0.3 = very round - /aa exch neg def % what to multiply the height with - % AFTER the max height checking - /y2 ED % y coordinate of the end of the slur - /x2 ED % x coordinate of the end of the slur - /y1 ED % y coordinate of the beginning of the slur - /x1 ED % x coordinate of the beginning of the slur - /yr2 ED - /yr1 ED - /internote ED - /x2 x2 x1 sub def % x2=x2-x1 - /y2 y2 y1 sub def % y2=y2-y1 - /sx y2 x2 div def - /b x2 300 mul Resolution div abs sqrt AR 2 mul def % b=2*sqrt(x2) - b 3 AR lt {/b 3 AR def} if % b=max(b,3) - b m gt {/b m def} if % b=min(b,m) - /aa b aa mul def % aa=aa*b - /s 90 x2 y2 atan sub def % s=90-arctan(x2,y2) slope of the slur - /aa aa s cos div def % aa=aa/cos(s) height of the slur - /x2 s neg cos x2 mul s neg sin y2 mul sub def % x2 = x2*cos(-s) - y2*sin(-s) - % is the length of the slur - e x2 mul maxe gt { /e maxe x2 div def } if - /beta e x2 mul aa neg atan def - beta 90 gt {/beta 180 beta sub def} if - /ax1 e x2 mul def % control points - /ay1 aa def - /ax2 1 e sub x2 mul def - /ay2 aa def - -% check if the starting and endin vector stay in desired quadrants -% => beta < abs(s) - beta s abs lt { - /b aa abs s abs 2 add sin mul s abs 2 add cos div def - s aa mul 0 lt { - s cos 0.75 lt { /ax1 ax1 b 1 s cos sub mul 0.5 mul sub def /ay1 ay1 s cos mul 0.8 mul def } if -% ^^^^ ^^^ ^^^ -% (values to play with) - /ax2 x2 b sub def - } - { - /ax1 b def - s cos 0.75 lt { /ax2 b 1 s cos sub mul 0.5 mul ax2 add def /ay2 ay2 s cos mul 0.8 mul def } if -% ^^^^ ^^^ ^^^ - } ifelse - } if - -% align the slur to the staff lines - - gsave - x1 y1 translate - s rotate -% [1 0 sx 1 0 0] concat - drawseg - gsave - initmatrix - flattenpath - pathbbox - exch pop - sub - /slh ED % in slh we have the height of the whole slur - pop - grestore - - /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def - /slh yr slh internote div aa 0 gt { add } { sub } ifelse 2 div def -% check if the slur gets too close to staff line - /shift 0 def - slh 4.45 lt slh -0.5 gt and { - /slh slh dup truncate sub def - slh 0 lt { /slh 1 slh add def } if - aa 0 gt { /slh 1 slh sub def } if - - % slh now contains the position ot the slur top/bottom in the space - % between the nearest staff lines (from <0,1>), regardless direction - - % slur is too low: - slh 0.45 lt { /shift 0.45 slh sub def } if - % slur is too high, but we can be shift it down: - slh 0.7 gt slh 0.85 lt and { /shift 0.7 slh sub def } if - % slur is too high, must be shifted up: - slh 0.85 ge { /shift 1.45 slh sub def } if - } if - - aa 0 gt { /shift shift neg def } if - - ifadjust 0 eq { - /shift 0 def - } if - - -% and finally draw it... - - grestore - gsave - /linew internote 0.06 mul AR def - linew 4 mul setlinewidth - 1 setlinecap - 0 setlinejoin - ifdash 1 eq - { [internote 8 mul AR internote 5 mul AR] 0 setdash } if - x1 y1 shift neg 2 mul internote mul 4 AR mul add translate - s rotate -% [1 sx 0 1 0 0] concat - -% uncomment this to see the control points -% 5 AR setlinewidth ax1 ay1 moveto 0.1 0 rlineto stroke -% ax2 ay2 moveto 0.1 0 rlineto stroke linew setlinewidth - - drawseg - 1 VS - drawseg - -2 VS - drawseg - x2 20 AR gt { - 3 VS - drawseg - } if - x2 50 AR gt { - -4 VS - drawseg - } if - x2 80 AR gt { - 5 VS - drawseg - } if - stroke - - grestore - - % now some \slurtext code... - - /x1 ax1 ax2 add 2 div def % middle of the slur - /y1 ay1 ay2 add 2 div def - x1 s cos mul y1 s sin mul add neg - y1 s cos mul x1 s sin mul sub - aa 0 lt {1} {0} ifelse - end - - % this is a hack to place the slurtext in the middle of the slur. - % From unknown reasons simple 'ax1 ay1 translate' did not work, - % so we have to overlay some definitions with our own, namely - % 'a', which is originally 'moveto' and 'V' for drawing rules. - % maybe there are some other operations that should be redefined, - % but for almost all cases this will be sufficient. If you find - % anything that won't be typeset at the correct position, let me know... - - temp@xx@dict begin - /dir exch def - /ay1 exch def - /ax1 exch def -} def - -% crescendos -/DC { - /y2 ED - /x2 ED - /y1 ED - /x1 ED - gsave - 1 AR ceiling setlinewidth % line thickness: this results - 1 setlinecap % to exactly 2 pixels in 300 dpi - 1 setlinejoin - x2 y2 10 AR add moveto % the 10's specify wideness of the - x1 y1 lineto % open end of the crescendo, - x2 y2 10 AR sub lineto % similarly the 11's below - stroke - grestore -} def - -% half crescendos -/DHC { - /y2 ED - /x2 ED - /y1 ED - /x1 ED - gsave - 1 AR ceiling setlinewidth - 1 setlinecap - 1 setlinejoin - x2 y2 11 AR add moveto - x1 y1 4 AR add lineto stroke - x1 y1 4 AR sub moveto - x2 y2 11 AR sub lineto - stroke - grestore -} def - -% differenced line - -/DLN { - gsave - GDAR ceiling setlinewidth - GDAR exch GDAR neg rlineto - stroke - grestore -} def - -% sloped line - -/DSLN { - gsave - GDAR ceiling setlinewidth - GDAR exch 1.125 mul neg rotate 0 rlineto - stroke - grestore -} def - -% free line (init & terminate) - -/DFLN { - gsave - GDAR ceiling setlinewidth - CP moveto - lineto - stroke - grestore -} def - -end - - -%%EndProcSet -%%BeginProcSet: texps.pro -%! -TeXDict begin/rf{findfont dup length 1 add dict begin{1 index/FID ne 2 -index/UniqueID ne and{def}{pop pop}ifelse}forall[1 index 0 6 -1 roll -exec 0 exch 5 -1 roll VResolution Resolution div mul neg 0 0]/Metrics -exch def dict begin Encoding{exch dup type/integertype ne{pop pop 1 sub -dup 0 le{pop}{[}ifelse}{FontMatrix 0 get div Metrics 0 get div def} -ifelse}forall Metrics/Metrics currentdict end def[2 index currentdict -end definefont 3 -1 roll makefont/setfont cvx]cvx def}def/ObliqueSlant{ -dup sin S cos div neg}B/SlantFont{4 index mul add}def/ExtendFont{3 -1 -roll mul exch}def/ReEncodeFont{CharStrings rcheck{/Encoding false def -dup[exch{dup CharStrings exch known not{pop/.notdef/Encoding true def} -if}forall Encoding{]exch pop}{cleartomark}ifelse}if/Encoding exch def} -def end - -%%EndProcSet -%%BeginProcSet: special.pro -%! -TeXDict begin/SDict 200 dict N SDict begin/@SpecialDefaults{/hs 612 N -/vs 792 N/ho 0 N/vo 0 N/hsc 1 N/vsc 1 N/ang 0 N/CLIP 0 N/rwiSeen false N -/rhiSeen false N/letter{}N/note{}N/a4{}N/legal{}N}B/@scaleunit 100 N -/@hscale{@scaleunit div/hsc X}B/@vscale{@scaleunit div/vsc X}B/@hsize{ -/hs X/CLIP 1 N}B/@vsize{/vs X/CLIP 1 N}B/@clip{/CLIP 2 N}B/@hoffset{/ho -X}B/@voffset{/vo X}B/@angle{/ang X}B/@rwi{10 div/rwi X/rwiSeen true N}B -/@rhi{10 div/rhi X/rhiSeen true N}B/@llx{/llx X}B/@lly{/lly X}B/@urx{ -/urx X}B/@ury{/ury X}B/magscale true def end/@MacSetUp{userdict/md known -{userdict/md get type/dicttype eq{userdict begin md length 10 add md -maxlength ge{/md md dup length 20 add dict copy def}if end md begin -/letter{}N/note{}N/legal{}N/od{txpose 1 0 mtx defaultmatrix dtransform S -atan/pa X newpath clippath mark{transform{itransform moveto}}{transform{ -itransform lineto}}{6 -2 roll transform 6 -2 roll transform 6 -2 roll -transform{itransform 6 2 roll itransform 6 2 roll itransform 6 2 roll -curveto}}{{closepath}}pathforall newpath counttomark array astore/gc xdf -pop ct 39 0 put 10 fz 0 fs 2 F/|______Courier fnt invertflag{PaintBlack} -if}N/txpose{pxs pys scale ppr aload pop por{noflips{pop S neg S TR pop 1 --1 scale}if xflip yflip and{pop S neg S TR 180 rotate 1 -1 scale ppr 3 -get ppr 1 get neg sub neg ppr 2 get ppr 0 get neg sub neg TR}if xflip -yflip not and{pop S neg S TR pop 180 rotate ppr 3 get ppr 1 get neg sub -neg 0 TR}if yflip xflip not and{ppr 1 get neg ppr 0 get neg TR}if}{ -noflips{TR pop pop 270 rotate 1 -1 scale}if xflip yflip and{TR pop pop -90 rotate 1 -1 scale ppr 3 get ppr 1 get neg sub neg ppr 2 get ppr 0 get -neg sub neg TR}if xflip yflip not and{TR pop pop 90 rotate ppr 3 get ppr -1 get neg sub neg 0 TR}if yflip xflip not and{TR pop pop 270 rotate ppr -2 get ppr 0 get neg sub neg 0 S TR}if}ifelse scaleby96{ppr aload pop 4 --1 roll add 2 div 3 1 roll add 2 div 2 copy TR .96 dup scale neg S neg S -TR}if}N/cp{pop pop showpage pm restore}N end}if}if}N/normalscale{ -Resolution 72 div VResolution 72 div neg scale magscale{DVImag dup scale -}if 0 setgray}N/psfts{S 65781.76 div N}N/startTexFig{/psf$SavedState -save N userdict maxlength dict begin/magscale true def normalscale -currentpoint TR/psf$ury psfts/psf$urx psfts/psf$lly psfts/psf$llx psfts -/psf$y psfts/psf$x psfts currentpoint/psf$cy X/psf$cx X/psf$sx psf$x -psf$urx psf$llx sub div N/psf$sy psf$y psf$ury psf$lly sub div N psf$sx -psf$sy scale psf$cx psf$sx div psf$llx sub psf$cy psf$sy div psf$ury sub -TR/showpage{}N/erasepage{}N/copypage{}N/p 3 def @MacSetUp}N/doclip{ -psf$llx psf$lly psf$urx psf$ury currentpoint 6 2 roll newpath 4 copy 4 2 -roll moveto 6 -1 roll S lineto S lineto S lineto closepath clip newpath -moveto}N/endTexFig{end psf$SavedState restore}N/@beginspecial{SDict -begin/SpecialSave save N gsave normalscale currentpoint TR -@SpecialDefaults count/ocount X/dcount countdictstack N}N/@setspecial{ -CLIP 1 eq{newpath 0 0 moveto hs 0 rlineto 0 vs rlineto hs neg 0 rlineto -closepath clip}if ho vo TR hsc vsc scale ang rotate rwiSeen{rwi urx llx -sub div rhiSeen{rhi ury lly sub div}{dup}ifelse scale llx neg lly neg TR -}{rhiSeen{rhi ury lly sub div dup scale llx neg lly neg TR}if}ifelse -CLIP 2 eq{newpath llx lly moveto urx lly lineto urx ury lineto llx ury -lineto closepath clip}if/showpage{}N/erasepage{}N/copypage{}N newpath}N -/@endspecial{count ocount sub{pop}repeat countdictstack dcount sub{end} -repeat grestore SpecialSave restore end}N/@defspecial{SDict begin}N -/@fedspecial{end}B/li{lineto}B/rl{rlineto}B/rc{rcurveto}B/np{/SaveX -currentpoint/SaveY X N 1 setlinecap newpath}N/st{stroke SaveX SaveY -moveto}N/fil{fill SaveX SaveY moveto}N/ellipse{/endangle X/startangle X -/yrad X/xrad X/savematrix matrix currentmatrix N TR xrad yrad scale 0 0 -1 startangle endangle arc savematrix setmatrix}N end - -%%EndProcSet -%%BeginFont: CMTT10 -%!PS-AdobeFont-1.1: CMTT10 1.00B -%%CreationDate: 1992 Apr 26 10:42:42 -% Copyright (C) 1997 American Mathematical Society. All Rights Reserved. -11 dict begin -/FontInfo 7 dict dup begin -/version (1.00B) readonly def -/Notice (Copyright (C) 1997 American Mathematical Society. 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This is a heavy magic! If you want something more understandable, -% you will have to write it yourself (if it is possible in a stack-oriented -% language that PostScript is). There are some constants you can -% change and see what happens, but I think the slurs should be almost -% always satisfiable. When not, let me know at: -% standa@hiero.cz -% Also any bug reports and comments are welcomed. -% -% Stanislav Kneifl. - -/slur@Dict 200 dict def - -% this dictionary is for \setslurtext, overriding some dvips's definitions -/temp@xx@dict 4 dict def temp@xx@dict begin - /a { moveto ax1 ay1 rmoveto } def - /V {gsave newpath transform round exch round exch itransform - exch ax1 add exch ay1 add moveto rulex 0 rlineto 0 ruley neg - rlineto rulex neg 0 rlineto fill grestore} def -end - -TeXDict begin -% get dimen from TeX's string ("125pt" -> 125 PS points) -/GD { dup length 2 sub 0 exch getinterval cvr 1.045 mul} def -% get dimen adjusted to Resolution -/GDAR { dup length 2 sub 0 exch getinterval cvr 4 AR mul 1.045 mul} def -% Adjust to Resolution -/AR { Resolution mul 300 div } def -% the distances in dvips's PostScript are resolution dependant! -end - -slur@Dict begin -/CP /currentpoint load def -/ED { exch def } bind def -/AR { Resolution mul 300 div } def % stands for Adjust to Resolution, -/VS { dup /ay1 exch ay1 exch linew mul 4 mul add def /ay2 exch ay2 exch linew mul 4 mul add def } def -/y { 3 2 roll ax1 ay1 rmoveto show moveto } def -/M { mul } def -/A { add } def -/SB { sub } def -/P { pop } def -/DP { dup } def -/R { roll } def - -/drawseg { 0 0 moveto - ax1 ay1 - ax1 0.6 mul ax2 0.4 mul add ay1 0.6 mul ay2 0.4 mul add - ax1 ax2 add 2 div ay1 ay2 add 2 div curveto - ax1 0.4 mul ax2 0.6 mul add ay1 0.4 mul ay2 0.6 mul add - ax2 ay2 - x2 0 curveto } def - -/DS { - AR /maxe ED - /ifadjust ED - /ifdash ED - AR /m ED % max height of the slur - /e ED % "angularity" of the slur; 0.1 = very angular, - % 0.3 = very round - /aa exch neg def % what to multiply the height with - % AFTER the max height checking - /y2 ED % y coordinate of the end of the slur - /x2 ED % x coordinate of the end of the slur - /y1 ED % y coordinate of the beginning of the slur - /x1 ED % x coordinate of the beginning of the slur - /yr2 ED - /yr1 ED - /internote ED - /x2 x2 x1 sub def % x2=x2-x1 - /y2 y2 y1 sub def % y2=y2-y1 - /sx y2 x2 div def - /b x2 300 mul Resolution div abs sqrt AR 2 mul def % b=2*sqrt(x2) - b 3 AR lt {/b 3 AR def} if % b=max(b,3) - b m gt {/b m def} if % b=min(b,m) - /aa b aa mul def % aa=aa*b - /s 90 x2 y2 atan sub def % s=90-arctan(x2,y2) slope of the slur - /aa aa s cos div def % aa=aa/cos(s) height of the slur - /x2 s neg cos x2 mul s neg sin y2 mul sub def % x2 = x2*cos(-s) - y2*sin(-s) - % is the length of the slur - e x2 mul maxe gt { /e maxe x2 div def } if - /beta e x2 mul aa neg atan def - beta 90 gt {/beta 180 beta sub def} if - /ax1 e x2 mul def % control points - /ay1 aa def - /ax2 1 e sub x2 mul def - /ay2 aa def - -% check if the starting and endin vector stay in desired quadrants -% => beta < abs(s) - beta s abs lt { - /b aa abs s abs 2 add sin mul s abs 2 add cos div def - s aa mul 0 lt { - s cos 0.75 lt { /ax1 ax1 b 1 s cos sub mul 0.5 mul sub def /ay1 ay1 s cos mul 0.8 mul def } if -% ^^^^ ^^^ ^^^ -% (values to play with) - /ax2 x2 b sub def - } - { - /ax1 b def - s cos 0.75 lt { /ax2 b 1 s cos sub mul 0.5 mul ax2 add def /ay2 ay2 s cos mul 0.8 mul def } if -% ^^^^ ^^^ ^^^ - } ifelse - } if - -% align the slur to the staff lines - - gsave - x1 y1 translate - s rotate -% [1 0 sx 1 0 0] concat - drawseg - gsave - initmatrix - flattenpath - pathbbox - exch pop - sub - /slh ED % in slh we have the height of the whole slur - pop - grestore - - /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def - /slh yr slh internote div aa 0 gt { add } { sub } ifelse 2 div def -% check if the slur gets too close to staff line - /shift 0 def - slh 4.45 lt slh -0.5 gt and { - /slh slh dup truncate sub def - slh 0 lt { /slh 1 slh add def } if - aa 0 gt { /slh 1 slh sub def } if - - % slh now contains the position ot the slur top/bottom in the space - % between the nearest staff lines (from <0,1>), regardless direction - - % slur is too low: - slh 0.45 lt { /shift 0.45 slh sub def } if - % slur is too high, but we can be shift it down: - slh 0.7 gt slh 0.85 lt and { /shift 0.7 slh sub def } if - % slur is too high, must be shifted up: - slh 0.85 ge { /shift 1.45 slh sub def } if - } if - - aa 0 gt { /shift shift neg def } if - - ifadjust 0 eq { - /shift 0 def - } if - - -% and finally draw it... - - grestore - gsave - /linew internote 0.06 mul AR def - linew 4 mul setlinewidth - 1 setlinecap - 0 setlinejoin - ifdash 1 eq - { [internote 8 mul AR internote 5 mul AR] 0 setdash } if - x1 y1 shift neg 2 mul internote mul 4 AR mul add translate - s rotate -% [1 sx 0 1 0 0] concat - -% uncomment this to see the control points -% 5 AR setlinewidth ax1 ay1 moveto 0.1 0 rlineto stroke -% ax2 ay2 moveto 0.1 0 rlineto stroke linew setlinewidth - - drawseg - 1 VS - drawseg - -2 VS - drawseg - x2 20 AR gt { - 3 VS - drawseg - } if - x2 50 AR gt { - -4 VS - drawseg - } if - x2 80 AR gt { - 5 VS - drawseg - } if - stroke - - grestore - - % now some \slurtext code... - - /x1 ax1 ax2 add 2 div def % middle of the slur - /y1 ay1 ay2 add 2 div def - x1 s cos mul y1 s sin mul add neg - y1 s cos mul x1 s sin mul sub - aa 0 lt {1} {0} ifelse - end - - % this is a hack to place the slurtext in the middle of the slur. - % From unknown reasons simple 'ax1 ay1 translate' did not work, - % so we have to overlay some definitions with our own, namely - % 'a', which is originally 'moveto' and 'V' for drawing rules. - % maybe there are some other operations that should be redefined, - % but for almost all cases this will be sufficient. 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This is a heavy magic! If you want something more understandable, -% you will have to write it yourself (if it is possible in a stack-oriented -% language that PostScript is). There are some constants you can -% change and see what happens, but I think the slurs should be almost -% always satisfiable. When not, let me know at: -% standa@hiero.cz -% Also any bug reports and comments are welcomed. -% -% Stanislav Kneifl. - -/slur@Dict 200 dict def - -% this dictionary is for \setslurtext, overriding some dvips's definitions -/temp@xx@dict 4 dict def temp@xx@dict begin - /a { moveto ax1 ay1 rmoveto } def - /V {gsave newpath transform round exch round exch itransform - exch ax1 add exch ay1 add moveto rulex 0 rlineto 0 ruley neg - rlineto rulex neg 0 rlineto fill grestore} def -end - -TeXDict begin -% get dimen from TeX's string ("125pt" -> 125 PS points) -/GD { dup length 2 sub 0 exch getinterval cvr 1.045 mul} def -% get dimen adjusted to Resolution -/GDAR { dup length 2 sub 0 exch getinterval cvr 4 AR mul 1.045 mul} def -% Adjust to Resolution -/AR { Resolution mul 300 div } def -% the distances in dvips's PostScript are resolution dependant! -end - -slur@Dict begin -/CP /currentpoint load def -/ED { exch def } bind def -/AR { Resolution mul 300 div } def % stands for Adjust to Resolution, -/VS { dup /ay1 exch ay1 exch linew mul 4 mul add def /ay2 exch ay2 exch linew mul 4 mul add def } def -/y { 3 2 roll ax1 ay1 rmoveto show moveto } def -/M { mul } def -/A { add } def -/SB { sub } def -/P { pop } def -/DP { dup } def -/R { roll } def - -/drawseg { 0 0 moveto - ax1 ay1 - ax1 0.6 mul ax2 0.4 mul add ay1 0.6 mul ay2 0.4 mul add - ax1 ax2 add 2 div ay1 ay2 add 2 div curveto - ax1 0.4 mul ax2 0.6 mul add ay1 0.4 mul ay2 0.6 mul add - ax2 ay2 - x2 0 curveto } def - -/DS { - AR /maxe ED - /ifadjust ED - /ifdash ED - AR /m ED % max height of the slur - /e ED % "angularity" of the slur; 0.1 = very angular, - % 0.3 = very round - /aa exch neg def % what to multiply the height with - % AFTER the max height checking - /y2 ED % y coordinate of the end of the slur - /x2 ED % x coordinate of the end of the slur - /y1 ED % y coordinate of the beginning of the slur - /x1 ED % x coordinate of the beginning of the slur - /yr2 ED - /yr1 ED - /internote ED - /x2 x2 x1 sub def % x2=x2-x1 - /y2 y2 y1 sub def % y2=y2-y1 - /sx y2 x2 div def - /b x2 300 mul Resolution div abs sqrt AR 2 mul def % b=2*sqrt(x2) - b 3 AR lt {/b 3 AR def} if % b=max(b,3) - b m gt {/b m def} if % b=min(b,m) - /aa b aa mul def % aa=aa*b - /s 90 x2 y2 atan sub def % s=90-arctan(x2,y2) slope of the slur - /aa aa s cos div def % aa=aa/cos(s) height of the slur - /x2 s neg cos x2 mul s neg sin y2 mul sub def % x2 = x2*cos(-s) - y2*sin(-s) - % is the length of the slur - e x2 mul maxe gt { /e maxe x2 div def } if - /beta e x2 mul aa neg atan def - beta 90 gt {/beta 180 beta sub def} if - /ax1 e x2 mul def % control points - /ay1 aa def - /ax2 1 e sub x2 mul def - /ay2 aa def - -% check if the starting and endin vector stay in desired quadrants -% => beta < abs(s) - beta s abs lt { - /b aa abs s abs 2 add sin mul s abs 2 add cos div def - s aa mul 0 lt { - s cos 0.75 lt { /ax1 ax1 b 1 s cos sub mul 0.5 mul sub def /ay1 ay1 s cos mul 0.8 mul def } if -% ^^^^ ^^^ ^^^ -% (values to play with) - /ax2 x2 b sub def - } - { - /ax1 b def - s cos 0.75 lt { /ax2 b 1 s cos sub mul 0.5 mul ax2 add def /ay2 ay2 s cos mul 0.8 mul def } if -% ^^^^ ^^^ ^^^ - } ifelse - } if - -% align the slur to the staff lines - - gsave - x1 y1 translate - s rotate -% [1 0 sx 1 0 0] concat - drawseg - gsave - initmatrix - flattenpath - pathbbox - exch pop - sub - /slh ED % in slh we have the height of the whole slur - pop - grestore - - /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def - /slh yr slh internote div aa 0 gt { add } { sub } ifelse 2 div def -% check if the slur gets too close to staff line - /shift 0 def - slh 4.45 lt slh -0.5 gt and { - /slh slh dup truncate sub def - slh 0 lt { /slh 1 slh add def } if - aa 0 gt { /slh 1 slh sub def } if - - % slh now contains the position ot the slur top/bottom in the space - % between the nearest staff lines (from <0,1>), regardless direction - - % slur is too low: - slh 0.45 lt { /shift 0.45 slh sub def } if - % slur is too high, but we can be shift it down: - slh 0.7 gt slh 0.85 lt and { /shift 0.7 slh sub def } if - % slur is too high, must be shifted up: - slh 0.85 ge { /shift 1.45 slh sub def } if - } if - - aa 0 gt { /shift shift neg def } if - - ifadjust 0 eq { - /shift 0 def - } if - - -% and finally draw it... - - grestore - gsave - /linew internote 0.06 mul AR def - linew 4 mul setlinewidth - 1 setlinecap - 0 setlinejoin - ifdash 1 eq - { [internote 8 mul AR internote 5 mul AR] 0 setdash } if - x1 y1 shift neg 2 mul internote mul 4 AR mul add translate - s rotate -% [1 sx 0 1 0 0] concat - -% uncomment this to see the control points -% 5 AR setlinewidth ax1 ay1 moveto 0.1 0 rlineto stroke -% ax2 ay2 moveto 0.1 0 rlineto stroke linew setlinewidth - - drawseg - 1 VS - drawseg - -2 VS - drawseg - x2 20 AR gt { - 3 VS - drawseg - } if - x2 50 AR gt { - -4 VS - drawseg - } if - x2 80 AR gt { - 5 VS - drawseg - } if - stroke - - grestore - - % now some \slurtext code... - - /x1 ax1 ax2 add 2 div def % middle of the slur - /y1 ay1 ay2 add 2 div def - x1 s cos mul y1 s sin mul add neg - y1 s cos mul x1 s sin mul sub - aa 0 lt {1} {0} ifelse - end - - % this is a hack to place the slurtext in the middle of the slur. - % From unknown reasons simple 'ax1 ay1 translate' did not work, - % so we have to overlay some definitions with our own, namely - % 'a', which is originally 'moveto' and 'V' for drawing rules. - % maybe there are some other operations that should be redefined, - % but for almost all cases this will be sufficient. If you find - % anything that won't be typeset at the correct position, let me know... - - temp@xx@dict begin - /dir exch def - /ay1 exch def - /ax1 exch def -} def - -% crescendos -/DC { - /y2 ED - /x2 ED - /y1 ED - /x1 ED - gsave - 1 AR ceiling setlinewidth % line thickness: this results - 1 setlinecap % to exactly 2 pixels in 300 dpi - 1 setlinejoin - x2 y2 10 AR add moveto % the 10's specify wideness of the - x1 y1 lineto % open end of the crescendo, - x2 y2 10 AR sub lineto % similarly the 11's below - stroke - grestore -} def - -% half crescendos -/DHC { - /y2 ED - /x2 ED - /y1 ED - /x1 ED - gsave - 1 AR ceiling setlinewidth - 1 setlinecap - 1 setlinejoin - x2 y2 11 AR add moveto - x1 y1 4 AR add lineto stroke - x1 y1 4 AR sub moveto - x2 y2 11 AR sub lineto - stroke - grestore -} def - -% differenced line - -/DLN { - gsave - GDAR ceiling setlinewidth - GDAR exch GDAR neg rlineto - stroke - grestore -} def - -% sloped line - -/DSLN { - gsave - GDAR ceiling setlinewidth - GDAR exch 1.125 mul neg rotate 0 rlineto - stroke - grestore -} def - -% free line (init & terminate) - -/DFLN { - gsave - GDAR ceiling setlinewidth - CP moveto - lineto - stroke - grestore -} def - -end - - -%%EndProcSet -%%BeginProcSet: texps.pro -%! -TeXDict begin/rf{findfont dup length 1 add dict begin{1 index/FID ne 2 -index/UniqueID ne and{def}{pop pop}ifelse}forall[1 index 0 6 -1 roll -exec 0 exch 5 -1 roll VResolution Resolution div mul neg 0 0]/Metrics -exch def dict begin Encoding{exch dup type/integertype ne{pop pop 1 sub -dup 0 le{pop}{[}ifelse}{FontMatrix 0 get div Metrics 0 get div def} -ifelse}forall Metrics/Metrics currentdict end def[2 index currentdict -end definefont 3 -1 roll makefont/setfont cvx]cvx def}def/ObliqueSlant{ -dup sin S cos div neg}B/SlantFont{4 index mul add}def/ExtendFont{3 -1 -roll mul exch}def/ReEncodeFont{CharStrings rcheck{/Encoding false def -dup[exch{dup CharStrings exch known not{pop/.notdef/Encoding true def} -if}forall Encoding{]exch pop}{cleartomark}ifelse}if/Encoding exch def} -def end - -%%EndProcSet -%%BeginProcSet: special.pro -%! -TeXDict begin/SDict 200 dict N SDict begin/@SpecialDefaults{/hs 612 N -/vs 792 N/ho 0 N/vo 0 N/hsc 1 N/vsc 1 N/ang 0 N/CLIP 0 N/rwiSeen false N -/rhiSeen false N/letter{}N/note{}N/a4{}N/legal{}N}B/@scaleunit 100 N -/@hscale{@scaleunit div/hsc X}B/@vscale{@scaleunit div/vsc X}B/@hsize{ -/hs X/CLIP 1 N}B/@vsize{/vs X/CLIP 1 N}B/@clip{/CLIP 2 N}B/@hoffset{/ho -X}B/@voffset{/vo X}B/@angle{/ang X}B/@rwi{10 div/rwi X/rwiSeen true N}B -/@rhi{10 div/rhi X/rhiSeen true N}B/@llx{/llx X}B/@lly{/lly X}B/@urx{ -/urx X}B/@ury{/ury X}B/magscale true def end/@MacSetUp{userdict/md known -{userdict/md get type/dicttype eq{userdict begin md length 10 add md -maxlength ge{/md md dup length 20 add dict copy def}if end md begin -/letter{}N/note{}N/legal{}N/od{txpose 1 0 mtx defaultmatrix dtransform S -atan/pa X newpath clippath mark{transform{itransform moveto}}{transform{ -itransform lineto}}{6 -2 roll transform 6 -2 roll transform 6 -2 roll -transform{itransform 6 2 roll itransform 6 2 roll itransform 6 2 roll -curveto}}{{closepath}}pathforall newpath counttomark array astore/gc xdf -pop ct 39 0 put 10 fz 0 fs 2 F/|______Courier fnt invertflag{PaintBlack} -if}N/txpose{pxs pys scale ppr aload pop por{noflips{pop S neg S TR pop 1 --1 scale}if xflip yflip and{pop S neg S TR 180 rotate 1 -1 scale ppr 3 -get ppr 1 get neg sub neg ppr 2 get ppr 0 get neg sub neg TR}if xflip -yflip not and{pop S neg S TR pop 180 rotate ppr 3 get ppr 1 get neg sub -neg 0 TR}if yflip xflip not and{ppr 1 get neg ppr 0 get neg TR}if}{ -noflips{TR pop pop 270 rotate 1 -1 scale}if xflip yflip and{TR pop pop -90 rotate 1 -1 scale ppr 3 get ppr 1 get neg sub neg ppr 2 get ppr 0 get -neg sub neg TR}if xflip yflip not and{TR pop pop 90 rotate ppr 3 get ppr -1 get neg sub neg 0 TR}if yflip xflip not and{TR pop pop 270 rotate ppr -2 get ppr 0 get neg sub neg 0 S TR}if}ifelse scaleby96{ppr aload pop 4 --1 roll add 2 div 3 1 roll add 2 div 2 copy TR .96 dup scale neg S neg S -TR}if}N/cp{pop pop showpage pm restore}N end}if}if}N/normalscale{ -Resolution 72 div VResolution 72 div neg scale magscale{DVImag dup scale -}if 0 setgray}N/psfts{S 65781.76 div N}N/startTexFig{/psf$SavedState -save N userdict maxlength dict begin/magscale true def normalscale -currentpoint TR/psf$ury psfts/psf$urx psfts/psf$lly psfts/psf$llx psfts -/psf$y psfts/psf$x psfts currentpoint/psf$cy X/psf$cx X/psf$sx psf$x -psf$urx psf$llx sub div N/psf$sy psf$y psf$ury psf$lly sub div N psf$sx -psf$sy scale psf$cx psf$sx div psf$llx sub psf$cy psf$sy div psf$ury sub -TR/showpage{}N/erasepage{}N/copypage{}N/p 3 def @MacSetUp}N/doclip{ -psf$llx psf$lly psf$urx psf$ury currentpoint 6 2 roll newpath 4 copy 4 2 -roll moveto 6 -1 roll S lineto S lineto S lineto closepath clip newpath -moveto}N/endTexFig{end psf$SavedState restore}N/@beginspecial{SDict -begin/SpecialSave save N gsave normalscale currentpoint TR -@SpecialDefaults count/ocount X/dcount countdictstack N}N/@setspecial{ -CLIP 1 eq{newpath 0 0 moveto hs 0 rlineto 0 vs rlineto hs neg 0 rlineto -closepath clip}if ho vo TR hsc vsc scale ang rotate rwiSeen{rwi urx llx -sub div rhiSeen{rhi ury lly sub div}{dup}ifelse scale llx neg lly neg TR -}{rhiSeen{rhi ury lly sub div dup scale llx neg lly neg TR}if}ifelse -CLIP 2 eq{newpath llx lly moveto urx lly lineto urx ury lineto llx ury -lineto closepath clip}if/showpage{}N/erasepage{}N/copypage{}N newpath}N -/@endspecial{count ocount sub{pop}repeat countdictstack dcount sub{end} -repeat grestore SpecialSave restore end}N/@defspecial{SDict begin}N -/@fedspecial{end}B/li{lineto}B/rl{rlineto}B/rc{rcurveto}B/np{/SaveX -currentpoint/SaveY X N 1 setlinecap newpath}N/st{stroke SaveX SaveY -moveto}N/fil{fill SaveX SaveY moveto}N/ellipse{/endangle X/startangle X -/yrad X/xrad X/savematrix matrix currentmatrix N TR xrad yrad scale 0 0 -1 startangle endangle arc savematrix setmatrix}N end - -%%EndProcSet -%%BeginFont: CMR10 -%!PS-AdobeFont-1.1: CMR10 1.00B -%%CreationDate: 1992 Feb 19 19:54:52 -% Copyright (C) 1997 American Mathematical Society. All Rights Reserved. -11 dict begin -/FontInfo 7 dict dup begin -/version (1.00B) readonly def -/Notice (Copyright (C) 1997 American Mathematical Society. All Rights Reserved) readonly def -/FullName (CMR10) readonly def -/FamilyName (Computer Modern) readonly def -/Weight (Medium) readonly def -/ItalicAngle 0 def -/isFixedPitch false def -end readonly def -/FontName /CMR10 def -/PaintType 0 def -/FontType 1 def -/FontMatrix [0.001 0 0 0.001 0 0] readonly def -/Encoding 256 array -0 1 255 {1 index exch /.notdef put} for -dup 75 /K put -dup 84 /T put -dup 101 /e put -dup 108 /l put -dup 112 /p put -dup 114 /r put -dup 115 /s put -dup 117 /u put -dup 121 /y put -readonly def -/FontBBox{-251 -250 1009 969}readonly def -/UniqueID 5000793 def -currentdict end -currentfile eexec -D9D66F633B846A97B686A97E45A3D0AA052A014267B7904EB3C0D3BD0B83D891 -016CA6CA4B712ADEB258FAAB9A130EE605E61F77FC1B738ABC7C51CD46EF8171 -9098D5FEE67660E69A7AB91B58F29A4D79E57022F783EB0FBBB6D4F4EC35014F -D2DECBA99459A4C59DF0C6EBA150284454E707DC2100C15B76B4C19B84363758 -469A6C558785B226332152109871A9883487DD7710949204DDCF837E6A8708B8 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This is a heavy magic! If you want something more understandable, -% you will have to write it yourself (if it is possible in a stack-oriented -% language that PostScript is). There are some constants you can -% change and see what happens, but I think the slurs should be almost -% always satisfiable. 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0.1 = very angular, - % 0.3 = very round - /aa exch neg def % what to multiply the height with - % AFTER the max height checking - /y2 ED % y coordinate of the end of the slur - /x2 ED % x coordinate of the end of the slur - /y1 ED % y coordinate of the beginning of the slur - /x1 ED % x coordinate of the beginning of the slur - /yr2 ED - /yr1 ED - /internote ED - /x2 x2 x1 sub def % x2=x2-x1 - /y2 y2 y1 sub def % y2=y2-y1 - /sx y2 x2 div def - /b x2 300 mul Resolution div abs sqrt AR 2 mul def % b=2*sqrt(x2) - b 3 AR lt {/b 3 AR def} if % b=max(b,3) - b m gt {/b m def} if % b=min(b,m) - /aa b aa mul def % aa=aa*b - /s 90 x2 y2 atan sub def % s=90-arctan(x2,y2) slope of the slur - /aa aa s cos div def % aa=aa/cos(s) height of the slur - /x2 s neg cos x2 mul s neg sin y2 mul sub def % x2 = x2*cos(-s) - y2*sin(-s) - % is the length of the slur - e x2 mul maxe gt { /e maxe x2 div def } if - /beta e x2 mul aa neg atan def - beta 90 gt {/beta 180 beta sub def} if - /ax1 e x2 mul def % control points - /ay1 aa def - /ax2 1 e sub x2 mul def - /ay2 aa def - -% check if the starting and endin vector stay in desired quadrants -% => beta < abs(s) - beta s abs lt { - /b aa abs s abs 2 add sin mul s abs 2 add cos div def - s aa mul 0 lt { - s cos 0.75 lt { /ax1 ax1 b 1 s cos sub mul 0.5 mul sub def /ay1 ay1 s cos mul 0.8 mul def } if -% ^^^^ ^^^ ^^^ -% (values to play with) - /ax2 x2 b sub def - } - { - /ax1 b def - s cos 0.75 lt { /ax2 b 1 s cos sub mul 0.5 mul ax2 add def /ay2 ay2 s cos mul 0.8 mul def } if -% ^^^^ ^^^ ^^^ - } ifelse - } if - -% align the slur to the staff lines - - gsave - x1 y1 translate - s rotate -% [1 0 sx 1 0 0] concat - drawseg - gsave - initmatrix - flattenpath - pathbbox - exch pop - sub - /slh ED % in slh we have the height of the whole slur - pop - grestore - - /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def - /slh yr slh internote div aa 0 gt { add } { sub } ifelse 2 div def -% check if the slur gets too close to staff line - /shift 0 def - slh 4.45 lt slh -0.5 gt and { - /slh slh dup truncate sub def - slh 0 lt { /slh 1 slh add def } if - aa 0 gt { /slh 1 slh sub def } if - - % slh now contains the position ot the slur top/bottom in the space - % between the nearest staff lines (from <0,1>), regardless direction - - % slur is too low: - slh 0.45 lt { /shift 0.45 slh sub def } if - % slur is too high, but we can be shift it down: - slh 0.7 gt slh 0.85 lt and { /shift 0.7 slh sub def } if - % slur is too high, must be shifted up: - slh 0.85 ge { /shift 1.45 slh sub def } if - } if - - aa 0 gt { /shift shift neg def } if - - ifadjust 0 eq { - /shift 0 def - } if - - -% and finally draw it... - - grestore - gsave - /linew internote 0.06 mul AR def - linew 4 mul setlinewidth - 1 setlinecap - 0 setlinejoin - ifdash 1 eq - { [internote 8 mul AR internote 5 mul AR] 0 setdash } if - x1 y1 shift neg 2 mul internote mul 4 AR mul add translate - s rotate -% [1 sx 0 1 0 0] concat - -% uncomment this to see the control points -% 5 AR setlinewidth ax1 ay1 moveto 0.1 0 rlineto stroke -% ax2 ay2 moveto 0.1 0 rlineto stroke linew setlinewidth - - drawseg - 1 VS - drawseg - -2 VS - drawseg - x2 20 AR gt { - 3 VS - drawseg - } if - x2 50 AR gt { - -4 VS - drawseg - } if - x2 80 AR gt { - 5 VS - drawseg - } if - stroke - - grestore - - % now some \slurtext code... - - /x1 ax1 ax2 add 2 div def % middle of the slur - /y1 ay1 ay2 add 2 div def - x1 s cos mul y1 s sin mul add neg - y1 s cos mul x1 s sin mul sub - aa 0 lt {1} {0} ifelse - end - - % this is a hack to place the slurtext in the middle of the slur. - % From unknown reasons simple 'ax1 ay1 translate' did not work, - % so we have to overlay some definitions with our own, namely - % 'a', which is originally 'moveto' and 'V' for drawing rules. - % maybe there are some other operations that should be redefined, - % but for almost all cases this will be sufficient. If you find - % anything that won't be typeset at the correct position, let me know... - - temp@xx@dict begin - /dir exch def - /ay1 exch def - /ax1 exch def -} def - -% crescendos -/DC { - /y2 ED - /x2 ED - /y1 ED - /x1 ED - gsave - 1 AR ceiling setlinewidth % line thickness: this results - 1 setlinecap % to exactly 2 pixels in 300 dpi - 1 setlinejoin - x2 y2 10 AR add moveto % the 10's specify wideness of the - x1 y1 lineto % open end of the crescendo, - x2 y2 10 AR sub lineto % similarly the 11's below - stroke - grestore -} def - -% half crescendos -/DHC { - /y2 ED - /x2 ED - /y1 ED - /x1 ED - gsave - 1 AR ceiling setlinewidth - 1 setlinecap - 1 setlinejoin - x2 y2 11 AR add moveto - x1 y1 4 AR add lineto stroke - x1 y1 4 AR sub moveto - x2 y2 11 AR sub lineto - stroke - grestore -} def - -% differenced line - -/DLN { - gsave - GDAR ceiling setlinewidth - GDAR exch GDAR neg rlineto - stroke - grestore -} def - -% sloped line - -/DSLN { - gsave - GDAR ceiling setlinewidth - GDAR exch 1.125 mul neg rotate 0 rlineto - stroke - grestore -} def - -% free line (init & terminate) - -/DFLN { - gsave - GDAR ceiling setlinewidth - CP moveto - lineto - stroke - grestore -} def - -end - - -%%EndProcSet -%%BeginProcSet: texps.pro -%! 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This is a heavy magic! If you want something more understandable, -% you will have to write it yourself (if it is possible in a stack-oriented -% language that PostScript is). There are some constants you can -% change and see what happens, but I think the slurs should be almost -% always satisfiable. When not, let me know at: -% standa@hiero.cz -% Also any bug reports and comments are welcomed. -% -% Stanislav Kneifl. - -/slur@Dict 200 dict def - -% this dictionary is for \setslurtext, overriding some dvips's definitions -/temp@xx@dict 4 dict def temp@xx@dict begin - /a { moveto ax1 ay1 rmoveto } def - /V {gsave newpath transform round exch round exch itransform - exch ax1 add exch ay1 add moveto rulex 0 rlineto 0 ruley neg - rlineto rulex neg 0 rlineto fill grestore} def -end - -TeXDict begin -% get dimen from TeX's string ("125pt" -> 125 PS points) -/GD { dup length 2 sub 0 exch getinterval cvr 1.045 mul} def -% get dimen adjusted to Resolution -/GDAR { dup length 2 sub 0 exch getinterval cvr 4 AR mul 1.045 mul} def -% Adjust to Resolution -/AR { Resolution mul 300 div } def -% the distances in dvips's PostScript are resolution dependant! -end - -slur@Dict begin -/CP /currentpoint load def -/ED { exch def } bind def -/AR { Resolution mul 300 div } def % stands for Adjust to Resolution, -/VS { dup /ay1 exch ay1 exch linew mul 4 mul add def /ay2 exch ay2 exch linew mul 4 mul add def } def -/y { 3 2 roll ax1 ay1 rmoveto show moveto } def -/M { mul } def -/A { add } def -/SB { sub } def -/P { pop } def -/DP { dup } def -/R { roll } def - -/drawseg { 0 0 moveto - ax1 ay1 - ax1 0.6 mul ax2 0.4 mul add ay1 0.6 mul ay2 0.4 mul add - ax1 ax2 add 2 div ay1 ay2 add 2 div curveto - ax1 0.4 mul ax2 0.6 mul add ay1 0.4 mul ay2 0.6 mul add - ax2 ay2 - x2 0 curveto } def - -/DS { - AR /maxe ED - /ifadjust ED - /ifdash ED - AR /m ED % max height of the slur - /e ED % "angularity" of the slur; 0.1 = very angular, - % 0.3 = very round - /aa exch neg def % what to multiply the height with - % AFTER the max height checking - /y2 ED % y coordinate of the end of the slur - /x2 ED % x coordinate of the end of the slur - /y1 ED % y coordinate of the beginning of the slur - /x1 ED % x coordinate of the beginning of the slur - /yr2 ED - /yr1 ED - /internote ED - /x2 x2 x1 sub def % x2=x2-x1 - /y2 y2 y1 sub def % y2=y2-y1 - /sx y2 x2 div def - /b x2 300 mul Resolution div abs sqrt AR 2 mul def % b=2*sqrt(x2) - b 3 AR lt {/b 3 AR def} if % b=max(b,3) - b m gt {/b m def} if % b=min(b,m) - /aa b aa mul def % aa=aa*b - /s 90 x2 y2 atan sub def % s=90-arctan(x2,y2) slope of the slur - /aa aa s cos div def % aa=aa/cos(s) height of the slur - /x2 s neg cos x2 mul s neg sin y2 mul sub def % x2 = x2*cos(-s) - y2*sin(-s) - % is the length of the slur - e x2 mul maxe gt { /e maxe x2 div def } if - /beta e x2 mul aa neg atan def - beta 90 gt {/beta 180 beta sub def} if - /ax1 e x2 mul def % control points - /ay1 aa def - /ax2 1 e sub x2 mul def - /ay2 aa def - -% check if the starting and endin vector stay in desired quadrants -% => beta < abs(s) - beta s abs lt { - /b aa abs s abs 2 add sin mul s abs 2 add cos div def - s aa mul 0 lt { - s cos 0.75 lt { /ax1 ax1 b 1 s cos sub mul 0.5 mul sub def /ay1 ay1 s cos mul 0.8 mul def } if -% ^^^^ ^^^ ^^^ -% (values to play with) - /ax2 x2 b sub def - } - { - /ax1 b def - s cos 0.75 lt { /ax2 b 1 s cos sub mul 0.5 mul ax2 add def /ay2 ay2 s cos mul 0.8 mul def } if -% ^^^^ ^^^ ^^^ - } ifelse - } if - -% align the slur to the staff lines - - gsave - x1 y1 translate - s rotate -% [1 0 sx 1 0 0] concat - drawseg - gsave - initmatrix - flattenpath - pathbbox - exch pop - sub - /slh ED % in slh we have the height of the whole slur - pop - grestore - - /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def - /slh yr slh internote div aa 0 gt { add } { sub } ifelse 2 div def -% check if the slur gets too close to staff line - /shift 0 def - slh 4.45 lt slh -0.5 gt and { - /slh slh dup truncate sub def - slh 0 lt { /slh 1 slh add def } if - aa 0 gt { /slh 1 slh sub def } if - - % slh now contains the position ot the slur top/bottom in the space - % between the nearest staff lines (from <0,1>), regardless direction - - % slur is too low: - slh 0.45 lt { /shift 0.45 slh sub def } if - % slur is too high, but we can be shift it down: - slh 0.7 gt slh 0.85 lt and { /shift 0.7 slh sub def } if - % slur is too high, must be shifted up: - slh 0.85 ge { /shift 1.45 slh sub def } if - } if - - aa 0 gt { /shift shift neg def } if - - ifadjust 0 eq { - /shift 0 def - } if - - -% and finally draw it... - - grestore - gsave - /linew internote 0.06 mul AR def - linew 4 mul setlinewidth - 1 setlinecap - 0 setlinejoin - ifdash 1 eq - { [internote 8 mul AR internote 5 mul AR] 0 setdash } if - x1 y1 shift neg 2 mul internote mul 4 AR mul add translate - s rotate -% [1 sx 0 1 0 0] concat - -% uncomment this to see the control points -% 5 AR setlinewidth ax1 ay1 moveto 0.1 0 rlineto stroke -% ax2 ay2 moveto 0.1 0 rlineto stroke linew setlinewidth - - drawseg - 1 VS - drawseg - -2 VS - drawseg - x2 20 AR gt { - 3 VS - drawseg - } if - x2 50 AR gt { - -4 VS - drawseg - } if - x2 80 AR gt { - 5 VS - drawseg - } if - stroke - - grestore - - % now some \slurtext code... - - /x1 ax1 ax2 add 2 div def % middle of the slur - /y1 ay1 ay2 add 2 div def - x1 s cos mul y1 s sin mul add neg - y1 s cos mul x1 s sin mul sub - aa 0 lt {1} {0} ifelse - end - - % this is a hack to place the slurtext in the middle of the slur. - % From unknown reasons simple 'ax1 ay1 translate' did not work, - % so we have to overlay some definitions with our own, namely - % 'a', which is originally 'moveto' and 'V' for drawing rules. - % maybe there are some other operations that should be redefined, - % but for almost all cases this will be sufficient. If you find - % anything that won't be typeset at the correct position, let me know... - - temp@xx@dict begin - /dir exch def - /ay1 exch def - /ax1 exch def -} def - -% crescendos -/DC { - /y2 ED - /x2 ED - /y1 ED - /x1 ED - gsave - 1 AR ceiling setlinewidth % line thickness: this results - 1 setlinecap % to exactly 2 pixels in 300 dpi - 1 setlinejoin - x2 y2 10 AR add moveto % the 10's specify wideness of the - x1 y1 lineto % open end of the crescendo, - x2 y2 10 AR sub lineto % similarly the 11's below - stroke - grestore -} def - -% half crescendos -/DHC { - /y2 ED - /x2 ED - /y1 ED - /x1 ED - gsave - 1 AR ceiling setlinewidth - 1 setlinecap - 1 setlinejoin - x2 y2 11 AR add moveto - x1 y1 4 AR add lineto stroke - x1 y1 4 AR sub moveto - x2 y2 11 AR sub lineto - stroke - grestore -} def - -% differenced line - -/DLN { - gsave - GDAR ceiling setlinewidth - GDAR exch GDAR neg rlineto - stroke - grestore -} def - -% sloped line - -/DSLN { - gsave - GDAR ceiling setlinewidth - GDAR exch 1.125 mul neg rotate 0 rlineto - stroke - grestore -} def - -% free line (init & terminate) - -/DFLN { - gsave - GDAR ceiling setlinewidth - CP moveto - lineto - stroke - grestore -} def - -end - - -%%EndProcSet -%%BeginProcSet: texps.pro -%! 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(2.0pt) GD M S0dir -M A S0x1 S0y1 CP (3.20001pt) GDAR S0dir M SB 1 S0dir M 0.17 40 S0dash -S0adj 90 DS /ay1 ay1 (0.0pt) GDAR -10 AR add dir mul add def - 1869 793 a 1869 793 a - end - 1869 793 a 1888 -694 a Fc(\007)1888 760 y(\033)p 1927 760 4 177 v 1 w(\007)1888 -428 y(\033)p 1927 411 4 117 v 1889 411 a(\007)1888 96 -y(\033)g(4)p 1927 96 V(\007)2054 777 y(>)235 b(>)2054 -445 y(>)g(?)2077 19 y - slur@Dict begin CP /S0y1 ED /S0x1 ED /S0hgt (11.20001pt) GD N /S0brk -S0hgt (2.0pt) GD 1 1 M M A N /S0lift 0 N /S0alt (100.0pt) GDAR N /S0dir -1 N /S0dash 0 N /S0adj 0 N end - 2077 19 a 2014 46 a Fc(2)p 2054 -154 4 108 v 2055 154 a(-)2055 46 y(\007)2191 96 y - slur@Dict begin (2.0pt) GD S0hgt (2.0pt) GD 1.6 (2.0pt) GD M S0dir -M A S0x1 S0y1 CP (3.20001pt) GDAR S0dir M SB 1 S0dir M 0.17 40 S0dash -S0adj 90 DS /ay1 ay1 (0.0pt) GDAR -10 AR add dir mul add def - 2191 -96 a 2191 96 a - end - 2191 96 a -20 w Fc(\031)p 2210 79 4 108 -v 2211 79 a(\()-39 b(\007)2312 -14 y - slur@Dict begin CP /S0y1 ED /S0x1 ED /S0hgt (15.20001pt) GD N /S0brk -S0hgt (2.0pt) GD 1 1 M M A N /S0lift 0 N /S0alt (100.0pt) GDAR N /S0dir -1 N /S0dash 0 N /S0adj 0 N end - 2312 -14 a 2289 -129 4 117 v 2290 13 a Fc(\007)2290 -4 y(\000)2488 777 -y(>)2366 378 y(2)p 2406 494 V 1 w(\007)2711 770 y - slur@Dict begin CP /S1y1 ED /S1x1 ED /S1hgt (0.79999pt) GD N /S1brk -S1hgt (2.0pt) GD 1 -1 M M A N /S1lift 0 N /S1alt (20.0pt) GDAR N /S1dir --1 N /S1dash 0 N /S1adj 0 N end - 2711 -770 a 2648 743 a Fc(6)p 2726 743 4 108 v(\007)2825 727 -y - slur@Dict begin (2.0pt) GD S1hgt (6.0pt) GD 1.6 (2.0pt) GD M S1dir -M A S1x1 S1y1 CP (3.20001pt) GDAR S1dir M SB 1 S1dir M 0.17 40 S1dash -S1adj 90 DS /ay1 ay1 (0.0pt) GDAR -10 AR add dir mul add def - 2825 727 a 2825 727 a - end - 2825 727 a -60 w Fc(4)2727 636 -y(\202)2779 633 y(\202)p 2843 727 4 98 v 2805 727 a(\007)2571 -445 y(?)77 b(2)p 2726 445 4 117 v(\007)2591 13 y - slur@Dict begin (2.0pt) GD S0hgt (12.0pt) GD 1.6 (2.0pt) GD M S0dir -M A S0x1 S0y1 CP (3.20001pt) GDAR S0dir M SB 1 S0dir M 0.17 40 S0dash -S0adj 90 DS /ay1 ay1 (0.0pt) GDAR -10 AR add dir mul add def - 2591 -13 a 2591 13 a - end - 2591 13 a 2571 29 a Fc(\030)2531 46 y(2)p -2571 154 4 108 v 2572 154 a(-)2572 46 y(\007)p 2726 79 -4 117 v 2688 79 a(\007)p 2922 778 4 799 v 2984 777 a(\031)p -3022 777 4 108 v 39 w(\()-39 b(\007)117 b(?)2984 428 -y(\031)p 3022 428 V 39 w(\()-39 b(\007)3101 445 y(?)2984 -29 y(\030)p 2984 137 V 2985 137 a(-)2985 29 y(\007)3101 -112 y(?)p 3218 778 4 799 v 3280 660 a(\036)p 3319 777 -4 117 v 3281 777 a(\010)3280 328 y(\036)p 3319 428 V -3281 428 a(\010)3280 212 y - slur@Dict begin CP /C3y1 ED /C3x1 ED /C3alt (88.0pt) GD N /C3dir 0 -N end - 3280 212 a -216 x Fc(\036)p -3280 146 4 117 v 3281 29 a(\010)3515 777 y(>)3515 445 -y(>)3515 112 y(?)3632 96 y(\031)p 3670 96 4 108 v 39 -w(\()g(\007)p 3787 727 4 117 v 3749 727 a(\010)3749 411 -y(\010)3709 445 y(2)p 3787 445 4 150 v(\010)3749 212 -y - slur@Dict begin C3x1 C3y1 CP 4 C3dir R DC end - 3749 212 a -216 x Fc(\036)p 3749 162 4 117 v 3750 46 -a(\010)p 3983 778 4 799 v 3987 943 a - slur@Dict begin /pss@rega 0 N /psc@rega 0 N /pst@rega 0 N end - 3987 943 a eop end -%%Trailer - -userdict /end-hook known{end-hook}if -%%EOF diff --git a/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/dottedslur.eps b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/dottedslur.eps deleted file mode 100644 index b3d32775f33..00000000000 --- a/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/dottedslur.eps +++ /dev/null @@ -1,596 +0,0 @@ -%% LaTeX2e file `eps/dottedslur.eps' -%% generated by the `filecontents' environment -%% from source `pmxccn' on 2011/07/14. -%% -%!PS-Adobe-3.0 EPSF-3.0 -%%Creator: dvips(k) 5.90a Copyright 2002 Radical Eye Software -%%Title: slurs.dvi -%%CreationDate: Sun Sep 28 16:03:13 2003 -%%Pages: 1 -%%PageOrder: Ascend -%%BoundingBox: 28 751 312 783 -%%DocumentFonts: TeXMUSIX16-Regular -%%EndComments -%DVIPSWebPage: (www.radicaleye.com) -%DVIPSCommandLine: C:\MIKTEX\TEXMF\MIKTEX\BIN\DVIPS.EXE slurs.dvi -%DVIPSParameters: dpi=600, compressed -%DVIPSSource: TeX output 2003.09.28:1603 -%%BeginProcSet: texc.pro -%! -/TeXDict 300 dict def TeXDict begin/N{def}def/B{bind def}N/S{exch}N/X{S -N}B/A{dup}B/TR{translate}N/isls false N/vsize 11 72 mul N/hsize 8.5 72 -mul N/landplus90{false}def/@rigin{isls{[0 landplus90{1 -1}{-1 1}ifelse 0 -0 0]concat}if 72 Resolution div 72 VResolution div neg scale isls{ -landplus90{VResolution 72 div vsize mul 0 exch}{Resolution -72 div hsize -mul 0}ifelse TR}if Resolution VResolution vsize -72 div 1 add mul TR[ -matrix currentmatrix{A A round sub abs 0.00001 lt{round}if}forall round -exch round exch]setmatrix}N/@landscape{/isls true N}B/@manualfeed{ -statusdict/manualfeed true put}B/@copies{/#copies X}B/FMat[1 0 0 -1 0 0] -N/FBB[0 0 0 0]N/nn 0 N/IE 0 N/ctr 0 N/df-tail{/nn 8 dict N nn begin -/FontType 3 N/FontMatrix fntrx N/FontBBox FBB N string/base X array -/BitMaps X/BuildChar{CharBuilder}N/Encoding IE N end A{/foo setfont}2 -array copy cvx N load 0 nn put/ctr 0 N[}B/sf 0 N/df{/sf 1 N/fntrx FMat N -df-tail}B/dfs{div/sf X/fntrx[sf 0 0 sf neg 0 0]N df-tail}B/E{pop nn A -definefont setfont}B/Cw{Cd A length 5 sub get}B/Ch{Cd A length 4 sub get -}B/Cx{128 Cd A length 3 sub get sub}B/Cy{Cd A length 2 sub get 127 sub} -B/Cdx{Cd A length 1 sub get}B/Ci{Cd A type/stringtype ne{ctr get/ctr ctr -1 add N}if}B/id 0 N/rw 0 N/rc 0 N/gp 0 N/cp 0 N/G 0 N/CharBuilder{save 3 -1 roll S A/base get 2 index get S/BitMaps get S get/Cd X pop/ctr 0 N Cdx -0 Cx Cy Ch sub Cx Cw add Cy setcachedevice Cw Ch true[1 0 0 -1 -.1 Cx -sub Cy .1 sub]/id Ci N/rw Cw 7 add 8 idiv string N/rc 0 N/gp 0 N/cp 0 N{ -rc 0 ne{rc 1 sub/rc X rw}{G}ifelse}imagemask restore}B/G{{id gp get/gp -gp 1 add N A 18 mod S 18 idiv pl S get exec}loop}B/adv{cp add/cp X}B -/chg{rw cp id gp 4 index getinterval putinterval A gp add/gp X adv}B/nd{ -/cp 0 N rw exit}B/lsh{rw cp 2 copy get A 0 eq{pop 1}{A 255 eq{pop 254}{ -A A add 255 and S 1 and or}ifelse}ifelse put 1 adv}B/rsh{rw cp 2 copy -get A 0 eq{pop 128}{A 255 eq{pop 127}{A 2 idiv S 128 and or}ifelse} -ifelse put 1 adv}B/clr{rw cp 2 index string putinterval adv}B/set{rw cp -fillstr 0 4 index getinterval putinterval adv}B/fillstr 18 string 0 1 17 -{2 copy 255 put pop}for N/pl[{adv 1 chg}{adv 1 chg nd}{1 add chg}{1 add -chg nd}{adv lsh}{adv lsh nd}{adv rsh}{adv rsh nd}{1 add adv}{/rc X nd}{ -1 add set}{1 add clr}{adv 2 chg}{adv 2 chg nd}{pop nd}]A{bind pop} -forall N/D{/cc X A type/stringtype ne{]}if nn/base get cc ctr put nn -/BitMaps get S ctr S sf 1 ne{A A length 1 sub A 2 index S get sf div put -}if put/ctr ctr 1 add N}B/I{cc 1 add D}B/bop{userdict/bop-hook known{ -bop-hook}if/SI save N @rigin 0 0 moveto/V matrix currentmatrix A 1 get A -mul exch 0 get A mul add .99 lt{/QV}{/RV}ifelse load def pop pop}N/eop{ -SI restore userdict/eop-hook known{eop-hook}if showpage}N/@start{ -userdict/start-hook known{start-hook}if pop/VResolution X/Resolution X -1000 div/DVImag X/IE 256 array N 2 string 0 1 255{IE S A 360 add 36 4 -index cvrs cvn put}for pop 65781.76 div/vsize X 65781.76 div/hsize X}N -/p{show}N/RMat[1 0 0 -1 0 0]N/BDot 260 string N/Rx 0 N/Ry 0 N/v{/Ry X -/Rx X V}B/V{}B/RV statusdict begin/product where{pop false[(Display) -(NeXT)(LaserWriter 16/600)]{A length product length le{A length product -exch 0 exch getinterval eq{pop true exit}if}{pop}ifelse}forall}{false} -ifelse end{{gsave TR -.1 .1 TR 1 1 scale Rx Ry false RMat{BDot} -imagemask grestore}}{{gsave TR -.1 .1 TR Rx Ry scale 1 1 false RMat{ -BDot}imagemask grestore}}ifelse B/QV{gsave newpath transform round exch -round exch itransform moveto Rx 0 rlineto 0 Ry neg rlineto Rx neg 0 -rlineto fill grestore}B/a{moveto}B/delta 0 N/tail{A/delta X 0 rmoveto}B -/M{S p delta add tail}B/b{S p tail}B/c{-4 M}B/d{-3 M}B/e{-2 M}B/f{-1 M} -B/g{0 M}B/h{1 M}B/i{2 M}B/j{3 M}B/k{4 M}B/w{0 rmoveto}B/l{p -4 w}B/m{p --3 w}B/n{p -2 w}B/o{p -1 w}B/q{p 1 w}B/r{p 2 w}B/s{p 3 w}B/t{p 4 w}B/x{ -0 S rmoveto}B/y{3 2 roll p a}B/bos{/SS save N}B/eos{SS restore}B end - -%%EndProcSet -%%BeginProcSet: psslurs.pro -% This file can be used instead of psslurs.pro, it is only commented -% and indented. -% -% VERSION: 1.0 -% -% WARNING! This is a heavy magic! If you want something more understandable, -% you will have to write it yourself (if it is possible in a stack-oriented -% language that PostScript is). There are some constants you can -% change and see what happens, but I think the slurs should be almost -% always satisfiable. When not, let me know at: -% standa@hiero.cz -% Also any bug reports and comments are welcomed. -% -% Stanislav Kneifl. - -/slur@Dict 200 dict def - -% this dictionary is for \setslurtext, overriding some dvips's definitions -/temp@xx@dict 4 dict def temp@xx@dict begin - /a { moveto ax1 ay1 rmoveto } def - /V {gsave newpath transform round exch round exch itransform - exch ax1 add exch ay1 add moveto rulex 0 rlineto 0 ruley neg - rlineto rulex neg 0 rlineto fill grestore} def -end - -TeXDict begin -% get dimen from TeX's string ("125pt" -> 125 PS points) -/GD { dup length 2 sub 0 exch getinterval cvr 1.045 mul} def -% get dimen adjusted to Resolution -/GDAR { dup length 2 sub 0 exch getinterval cvr 4 AR mul 1.045 mul} def -% Adjust to Resolution -/AR { Resolution mul 300 div } def -% the distances in dvips's PostScript are resolution dependant! -end - -slur@Dict begin -/CP /currentpoint load def -/ED { exch def } bind def -/AR { Resolution mul 300 div } def % stands for Adjust to Resolution, -/VS { dup /ay1 exch ay1 exch linew mul 4 mul add def /ay2 exch ay2 exch linew mul 4 mul add def } def -/y { 3 2 roll ax1 ay1 rmoveto show moveto } def -/M { mul } def -/A { add } def -/SB { sub } def -/P { pop } def -/DP { dup } def -/R { roll } def - -/drawseg { 0 0 moveto - ax1 ay1 - ax1 0.6 mul ax2 0.4 mul add ay1 0.6 mul ay2 0.4 mul add - ax1 ax2 add 2 div ay1 ay2 add 2 div curveto - ax1 0.4 mul ax2 0.6 mul add ay1 0.4 mul ay2 0.6 mul add - ax2 ay2 - x2 0 curveto } def - -/DS { - AR /maxe ED - /ifadjust ED - /ifdash ED - AR /m ED % max height of the slur - /e ED % "angularity" of the slur; 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22714 285 15 v 4709 22707 15 615 -v 4506 22707 a(\007)p 4821 24639 V 4822 24025 a(\007)p -5025 23849 15 572 v 5026 23849 a(\()g(\007)p 5473 23937 -15 516 v 5270 23937 a(\007)p 5473 22619 15 572 v 5474 -22619 a(\()g(\007)p 5718 24727 15 615 v 5719 24113 a(\007)p -5681 22714 285 15 v 5922 22707 15 615 v -1406 x(\007)p -6238 24025 15 572 v 6239 24025 a(\()g(\007)p 6483 24559 -15 2731 v 6722 24815 15 615 v 6723 24201 a(\007)p 6925 -23849 15 516 v 6722 23849 a(\007)p 6925 22619 15 572 -v 6926 22619 a(\()g(\007)p 7374 22443 15 615 v 7171 22443 -a(\007)p 7434 23680 317 15 v 7487 24201 15 616 v 7488 -23585 a(\007)7276 23761 y(2)p 7901 23761 15 572 v 415 -w(\()g(\007)p 8175 23937 15 516 v 7972 23937 a(\007)p -8175 22355 15 572 v 8176 22355 a(\()g(\007)p 8383 23680 -285 15 v 8420 24288 15 615 v 8421 23673 a(\007)p 8624 -22531 V -1142 x(\007)p 8940 23849 15 572 v 8941 23849 -a(\()g(\007)p 9185 24559 15 2731 v 9370 23680 317 15 -v 9423 24201 15 616 v 9424 23585 a(\007)p 9838 24201 -15 615 v 9635 24201 a(\007)p 9627 22443 15 572 v 9628 -22443 a(\()g(\007)p 10076 22619 15 615 v 9873 22619 a(\007)p -10135 23680 317 15 v 10136 23505 V 10189 24201 15 791 -v 10190 23410 a(\007)p 10346 23680 317 15 v 10603 23585 -15 572 v 10604 23585 a(\()g(\007)p 10621 23680 317 15 -v 10878 23673 15 450 v 10675 23673 a(\007)p 10876 22268 -15 572 v 10877 22268 a(\()g(\007)p 11084 23680 285 15 -v 11084 23505 V 11121 24201 15 703 v 11122 23498 a(\007)p -11325 22355 15 615 v -1143 x(\007)11227 23761 y(2)p 11641 -23761 15 572 v 204 w(\()g(\007)p 11886 24559 15 2731 -v 12072 23680 317 15 v 12125 24201 15 616 v 12126 23585 -a(\010)p 13342 23680 317 15 v 13395 24288 15 615 v 13396 -23673 a(\007)p 12072 23680 317 15 v 12329 23585 15 417 -v 12126 23585 a(\010)p 13342 23680 317 15 v 13343 23505 -V 13600 23498 15 417 v 13397 23498 a(\007)p 12328 22268 -15 615 v 12125 22268 a(\007)p 12759 22794 V 12760 22180 -a(\007)p 13394 22706 V 13395 22092 a(\007)p 14029 24559 -15 2731 v 14215 23680 317 15 v 14268 24201 15 616 v 14269 -23585 a(\010\000)14294 23058 y(P)p 14215 23680 317 15 -v 14216 23505 V 14473 23410 15 417 v 14270 23410 a(\010\000)14294 -21740 y(P)p 14471 22268 15 615 v 14268 22268 a(\010\000)p -15367 24559 15 2731 v 15605 24551 15 615 v 15606 23937 -a(\010\000)15631 23234 y(P)p 15552 23680 317 15 v 15809 -23585 15 417 v 15606 23585 a(\010\000)15631 21828 y(P)p -15809 22355 15 615 v 15606 22355 a(\010)15606 22268 y(\000)p -16704 24559 15 2731 v 16771 24559 106 2731 v eop end -userdict /end-hook known{end-hook}if -%%Trailer -cleartomark -countdictstack -exch sub { end } repeat -restore -%%EOF diff --git a/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/grace.eps b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/grace.eps deleted file mode 100644 index 0ea3e9502b3..00000000000 --- a/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/grace.eps +++ /dev/null @@ -1,758 +0,0 @@ -%% LaTeX2e file `eps/grace.eps' -%% generated by the `filecontents' environment -%% from source `pmxccn' on 2011/07/14. -%% -%!PS-Adobe-3.0 EPSF-3.0 -%%Creator: dvips(k) 5.90a Copyright 2002 Radical Eye Software -%%Title: grace.dvi -%%CreationDate: Sun Sep 28 15:50:01 2003 -%%Pages: 1 -%%PageOrder: Ascend -%%BoundingBox: 28 742 453 792 -%%DocumentFonts: TeXMUSIX16-Regular TeXMUSIX11-Regular -%%EndComments -%DVIPSWebPage: (www.radicaleye.com) -%DVIPSCommandLine: C:\MIKTEX\TEXMF\MIKTEX\BIN\DVIPS.EXE grace.dvi -%DVIPSParameters: dpi=600, compressed -%DVIPSSource: TeX output 2003.09.28:1550 -%%BeginProcSet: texc.pro -%! -/TeXDict 300 dict def TeXDict begin/N{def}def/B{bind def}N/S{exch}N/X{S -N}B/A{dup}B/TR{translate}N/isls false N/vsize 11 72 mul N/hsize 8.5 72 -mul N/landplus90{false}def/@rigin{isls{[0 landplus90{1 -1}{-1 1}ifelse 0 -0 0]concat}if 72 Resolution div 72 VResolution div neg scale isls{ -landplus90{VResolution 72 div vsize mul 0 exch}{Resolution -72 div hsize -mul 0}ifelse TR}if Resolution VResolution vsize -72 div 1 add mul TR[ -matrix currentmatrix{A A round sub abs 0.00001 lt{round}if}forall round -exch round exch]setmatrix}N/@landscape{/isls true N}B/@manualfeed{ -statusdict/manualfeed true put}B/@copies{/#copies X}B/FMat[1 0 0 -1 0 0] -N/FBB[0 0 0 0]N/nn 0 N/IE 0 N/ctr 0 N/df-tail{/nn 8 dict N nn begin -/FontType 3 N/FontMatrix fntrx N/FontBBox FBB N string/base X array -/BitMaps X/BuildChar{CharBuilder}N/Encoding IE N end A{/foo setfont}2 -array copy cvx N load 0 nn put/ctr 0 N[}B/sf 0 N/df{/sf 1 N/fntrx FMat N -df-tail}B/dfs{div/sf X/fntrx[sf 0 0 sf neg 0 0]N df-tail}B/E{pop nn A -definefont setfont}B/Cw{Cd A length 5 sub get}B/Ch{Cd A length 4 sub get -}B/Cx{128 Cd A length 3 sub get sub}B/Cy{Cd A length 2 sub get 127 sub} -B/Cdx{Cd A length 1 sub get}B/Ci{Cd A type/stringtype ne{ctr get/ctr ctr -1 add N}if}B/id 0 N/rw 0 N/rc 0 N/gp 0 N/cp 0 N/G 0 N/CharBuilder{save 3 -1 roll S A/base get 2 index get S/BitMaps get S get/Cd X pop/ctr 0 N Cdx -0 Cx Cy Ch sub Cx Cw add Cy setcachedevice Cw Ch true[1 0 0 -1 -.1 Cx -sub Cy .1 sub]/id Ci N/rw Cw 7 add 8 idiv string N/rc 0 N/gp 0 N/cp 0 N{ -rc 0 ne{rc 1 sub/rc X rw}{G}ifelse}imagemask restore}B/G{{id gp get/gp -gp 1 add N A 18 mod S 18 idiv pl S get exec}loop}B/adv{cp add/cp X}B -/chg{rw cp id gp 4 index getinterval putinterval A gp add/gp X adv}B/nd{ -/cp 0 N rw exit}B/lsh{rw cp 2 copy get A 0 eq{pop 1}{A 255 eq{pop 254}{ -A A add 255 and S 1 and or}ifelse}ifelse put 1 adv}B/rsh{rw cp 2 copy -get A 0 eq{pop 128}{A 255 eq{pop 127}{A 2 idiv S 128 and or}ifelse} -ifelse put 1 adv}B/clr{rw cp 2 index string putinterval adv}B/set{rw cp -fillstr 0 4 index getinterval putinterval adv}B/fillstr 18 string 0 1 17 -{2 copy 255 put pop}for N/pl[{adv 1 chg}{adv 1 chg nd}{1 add chg}{1 add -chg nd}{adv lsh}{adv lsh nd}{adv rsh}{adv rsh nd}{1 add adv}{/rc X nd}{ -1 add set}{1 add clr}{adv 2 chg}{adv 2 chg nd}{pop nd}]A{bind pop} -forall N/D{/cc X A type/stringtype ne{]}if nn/base get cc ctr put nn -/BitMaps get S ctr S sf 1 ne{A A length 1 sub A 2 index S get sf div put -}if put/ctr ctr 1 add N}B/I{cc 1 add D}B/bop{userdict/bop-hook known{ -bop-hook}if/SI save N @rigin 0 0 moveto/V matrix currentmatrix A 1 get A -mul exch 0 get A mul add .99 lt{/QV}{/RV}ifelse load def pop pop}N/eop{ -SI restore userdict/eop-hook known{eop-hook}if showpage}N/@start{ -userdict/start-hook known{start-hook}if pop/VResolution X/Resolution X -1000 div/DVImag X/IE 256 array N 2 string 0 1 255{IE S A 360 add 36 4 -index cvrs cvn put}for pop 65781.76 div/vsize X 65781.76 div/hsize X}N -/p{show}N/RMat[1 0 0 -1 0 0]N/BDot 260 string N/Rx 0 N/Ry 0 N/v{/Ry X -/Rx X V}B/V{}B/RV statusdict begin/product where{pop false[(Display) -(NeXT)(LaserWriter 16/600)]{A length product length le{A length product -exch 0 exch getinterval eq{pop true exit}if}{pop}ifelse}forall}{false} -ifelse end{{gsave TR -.1 .1 TR 1 1 scale Rx Ry false RMat{BDot} -imagemask grestore}}{{gsave TR -.1 .1 TR Rx Ry scale 1 1 false RMat{ -BDot}imagemask grestore}}ifelse B/QV{gsave newpath transform round exch -round exch itransform moveto Rx 0 rlineto 0 Ry neg rlineto Rx neg 0 -rlineto fill grestore}B/a{moveto}B/delta 0 N/tail{A/delta X 0 rmoveto}B -/M{S p delta add tail}B/b{S p tail}B/c{-4 M}B/d{-3 M}B/e{-2 M}B/f{-1 M} -B/g{0 M}B/h{1 M}B/i{2 M}B/j{3 M}B/k{4 M}B/w{0 rmoveto}B/l{p -4 w}B/m{p --3 w}B/n{p -2 w}B/o{p -1 w}B/q{p 1 w}B/r{p 2 w}B/s{p 3 w}B/t{p 4 w}B/x{ -0 S rmoveto}B/y{3 2 roll p a}B/bos{/SS save N}B/eos{SS restore}B end - -%%EndProcSet -%%BeginProcSet: psslurs.pro -% This file can be used instead of psslurs.pro, it is only commented -% and indented. -% -% VERSION: 1.0 -% -% WARNING! This is a heavy magic! If you want something more understandable, -% you will have to write it yourself (if it is possible in a stack-oriented -% language that PostScript is). There are some constants you can -% change and see what happens, but I think the slurs should be almost -% always satisfiable. When not, let me know at: -% standa@hiero.cz -% Also any bug reports and comments are welcomed. -% -% Stanislav Kneifl. - -/slur@Dict 200 dict def - -% this dictionary is for \setslurtext, overriding some dvips's definitions -/temp@xx@dict 4 dict def temp@xx@dict begin - /a { moveto ax1 ay1 rmoveto } def - /V {gsave newpath transform round exch round exch itransform - exch ax1 add exch ay1 add moveto rulex 0 rlineto 0 ruley neg - rlineto rulex neg 0 rlineto fill grestore} def -end - -TeXDict begin -% get dimen from TeX's string ("125pt" -> 125 PS points) -/GD { dup length 2 sub 0 exch getinterval cvr 1.045 mul} def -% get dimen adjusted to Resolution -/GDAR { dup length 2 sub 0 exch getinterval cvr 4 AR mul 1.045 mul} def -% Adjust to Resolution -/AR { Resolution mul 300 div } def -% the distances in dvips's PostScript are resolution dependant! -end - -slur@Dict begin -/CP /currentpoint load def -/ED { exch def } bind def -/AR { Resolution mul 300 div } def % stands for Adjust to Resolution, -/VS { dup /ay1 exch ay1 exch linew mul 4 mul add def /ay2 exch ay2 exch linew mul 4 mul add def } def -/y { 3 2 roll ax1 ay1 rmoveto show moveto } def -/M { mul } def -/A { add } def -/SB { sub } def -/P { pop } def -/DP { dup } def -/R { roll } def - -/drawseg { 0 0 moveto - ax1 ay1 - ax1 0.6 mul ax2 0.4 mul add ay1 0.6 mul ay2 0.4 mul add - ax1 ax2 add 2 div ay1 ay2 add 2 div curveto - ax1 0.4 mul ax2 0.6 mul add ay1 0.4 mul ay2 0.6 mul add - ax2 ay2 - x2 0 curveto } def - -/DS { - AR /maxe ED - /ifadjust ED - /ifdash ED - AR /m ED % max height of the slur - /e ED % "angularity" of the slur; 0.1 = very angular, - % 0.3 = very round - /aa exch neg def % what to multiply the height with - % AFTER the max height checking - /y2 ED % y coordinate of the end of the slur - /x2 ED % x coordinate of the end of the slur - /y1 ED % y coordinate of the beginning of the slur - /x1 ED % x coordinate of the beginning of the slur - /yr2 ED - /yr1 ED - /internote ED - /x2 x2 x1 sub def % x2=x2-x1 - /y2 y2 y1 sub def % y2=y2-y1 - /sx y2 x2 div def - /b x2 300 mul Resolution div abs sqrt AR 2 mul def % b=2*sqrt(x2) - b 3 AR lt {/b 3 AR def} if % b=max(b,3) - b m gt {/b m def} if % b=min(b,m) - /aa b aa mul def % aa=aa*b - /s 90 x2 y2 atan sub def % s=90-arctan(x2,y2) slope of the slur - /aa aa s cos div def % aa=aa/cos(s) height of the slur - /x2 s neg cos x2 mul s neg sin y2 mul sub def % x2 = x2*cos(-s) - y2*sin(-s) - % is the length of the slur - e x2 mul maxe gt { /e maxe x2 div def } if - /beta e x2 mul aa neg atan def - beta 90 gt {/beta 180 beta sub def} if - /ax1 e x2 mul def % control points - /ay1 aa def - /ax2 1 e sub x2 mul def - /ay2 aa def - -% check if the starting and endin vector stay in desired quadrants -% => beta < abs(s) - beta s abs lt { - /b aa abs s abs 2 add sin mul s abs 2 add cos div def - s aa mul 0 lt { - s cos 0.75 lt { /ax1 ax1 b 1 s cos sub mul 0.5 mul sub def /ay1 ay1 s cos mul 0.8 mul def } if -% ^^^^ ^^^ ^^^ -% (values to play with) - /ax2 x2 b sub def - } - { - /ax1 b def - s cos 0.75 lt { /ax2 b 1 s cos sub mul 0.5 mul ax2 add def /ay2 ay2 s cos mul 0.8 mul def } if -% ^^^^ ^^^ ^^^ - } ifelse - } if - -% align the slur to the staff lines - - gsave - x1 y1 translate - s rotate -% [1 0 sx 1 0 0] concat - drawseg - gsave - initmatrix - flattenpath - pathbbox - exch pop - sub - /slh ED % in slh we have the height of the whole slur - pop - grestore - - /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def - /slh yr slh internote div aa 0 gt { add } { sub } ifelse 2 div def -% check if the slur gets too close to staff line - /shift 0 def - slh 4.45 lt slh -0.5 gt and { - /slh slh dup truncate sub def - slh 0 lt { /slh 1 slh add def } if - aa 0 gt { /slh 1 slh sub def } if - - % slh now contains the position ot the slur top/bottom in the space - % between the nearest staff lines (from <0,1>), regardless direction - - % slur is too low: - slh 0.45 lt { /shift 0.45 slh sub def } if - % slur is too high, but we can be shift it down: - slh 0.7 gt slh 0.85 lt and { /shift 0.7 slh sub def } if - % slur is too high, must be shifted up: - slh 0.85 ge { /shift 1.45 slh sub def } if - } if - - aa 0 gt { /shift shift neg def } if - - ifadjust 0 eq { - /shift 0 def - } if - - -% and finally draw it... - - grestore - gsave - /linew internote 0.06 mul AR def - linew 4 mul setlinewidth - 1 setlinecap - 0 setlinejoin - ifdash 1 eq - { [internote 8 mul AR internote 5 mul AR] 0 setdash } if - x1 y1 shift neg 2 mul internote mul 4 AR mul add translate - s rotate -% [1 sx 0 1 0 0] concat - -% uncomment this to see the control points -% 5 AR setlinewidth ax1 ay1 moveto 0.1 0 rlineto stroke -% ax2 ay2 moveto 0.1 0 rlineto stroke linew setlinewidth - - drawseg - 1 VS - drawseg - -2 VS - drawseg - x2 20 AR gt { - 3 VS - drawseg - } if - x2 50 AR gt { - -4 VS - drawseg - } if - x2 80 AR gt { - 5 VS - drawseg - } if - stroke - - grestore - - % now some \slurtext code... - - /x1 ax1 ax2 add 2 div def % middle of the slur - /y1 ay1 ay2 add 2 div def - x1 s cos mul y1 s sin mul add neg - y1 s cos mul x1 s sin mul sub - aa 0 lt {1} {0} ifelse - end - - % this is a hack to place the slurtext in the middle of the slur. - % From unknown reasons simple 'ax1 ay1 translate' did not work, - % so we have to overlay some definitions with our own, namely - % 'a', which is originally 'moveto' and 'V' for drawing rules. - % maybe there are some other operations that should be redefined, - % but for almost all cases this will be sufficient. 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slur@Dict begin /pss@rega 0 N /psc@rega 0 N /pst@rega 0 N end - 3165 511 a eop end -%%Trailer - -userdict /end-hook known{end-hook}if -%%EOF diff --git a/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/jumpslur.eps b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/jumpslur.eps deleted file mode 100644 index 14b3e5a62c7..00000000000 --- a/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/jumpslur.eps +++ /dev/null @@ -1,948 +0,0 @@ -%% LaTeX2e file `eps/jumpslur.eps' -%% generated by the `filecontents' environment -%% from source `pmxccn' on 2011/07/14. -%% -%!PS-Adobe-3.0 EPSF-3.0 -%%Creator: dvips(k) 5.90a Copyright 2002 Radical Eye Software -%%Title: jumpslur.dvi -%%CreationDate: Wed Jan 21 13:58:18 2004 -%%Pages: 1 -%%PageOrder: Ascend -%%BoundingBox: 28 698 510 782 -%%DocumentFonts: TeXMUSIXSPX-Regular CMR10 TeXMUSIX16-Regular CMTI10 -%%EndComments -%DVIPSWebPage: (www.radicaleye.com) -%DVIPSCommandLine: C:\MIKTEX\TEXMF\MIKTEX\BIN\DVIPS.EXE jumpslur.dvi -%DVIPSParameters: dpi=600, compressed -%DVIPSSource: TeX output 2004.01.21:1358 -%%BeginProcSet: texc.pro -%! -/TeXDict 300 dict def TeXDict begin/N{def}def/B{bind def}N/S{exch}N/X{S -N}B/A{dup}B/TR{translate}N/isls false N/vsize 11 72 mul N/hsize 8.5 72 -mul N/landplus90{false}def/@rigin{isls{[0 landplus90{1 -1}{-1 1}ifelse 0 -0 0]concat}if 72 Resolution div 72 VResolution div neg scale isls{ -landplus90{VResolution 72 div vsize mul 0 exch}{Resolution -72 div hsize -mul 0}ifelse TR}if Resolution VResolution vsize -72 div 1 add mul TR[ -matrix currentmatrix{A A round sub abs 0.00001 lt{round}if}forall round -exch round exch]setmatrix}N/@landscape{/isls true N}B/@manualfeed{ -statusdict/manualfeed true put}B/@copies{/#copies X}B/FMat[1 0 0 -1 0 0] -N/FBB[0 0 0 0]N/nn 0 N/IE 0 N/ctr 0 N/df-tail{/nn 8 dict N nn begin -/FontType 3 N/FontMatrix fntrx N/FontBBox FBB N string/base X array -/BitMaps X/BuildChar{CharBuilder}N/Encoding IE N end A{/foo setfont}2 -array copy cvx N load 0 nn put/ctr 0 N[}B/sf 0 N/df{/sf 1 N/fntrx FMat N -df-tail}B/dfs{div/sf X/fntrx[sf 0 0 sf neg 0 0]N df-tail}B/E{pop nn A -definefont setfont}B/Cw{Cd A length 5 sub get}B/Ch{Cd A length 4 sub get -}B/Cx{128 Cd A length 3 sub get sub}B/Cy{Cd A length 2 sub get 127 sub} -B/Cdx{Cd A length 1 sub get}B/Ci{Cd A type/stringtype ne{ctr get/ctr ctr -1 add N}if}B/id 0 N/rw 0 N/rc 0 N/gp 0 N/cp 0 N/G 0 N/CharBuilder{save 3 -1 roll S A/base get 2 index get S/BitMaps get S get/Cd X pop/ctr 0 N Cdx -0 Cx Cy Ch sub Cx Cw add Cy setcachedevice Cw Ch true[1 0 0 -1 -.1 Cx -sub Cy .1 sub]/id Ci N/rw Cw 7 add 8 idiv string N/rc 0 N/gp 0 N/cp 0 N{ -rc 0 ne{rc 1 sub/rc X rw}{G}ifelse}imagemask restore}B/G{{id gp get/gp -gp 1 add N A 18 mod S 18 idiv pl S get exec}loop}B/adv{cp add/cp X}B -/chg{rw cp id gp 4 index getinterval putinterval A gp add/gp X adv}B/nd{ -/cp 0 N rw exit}B/lsh{rw cp 2 copy get A 0 eq{pop 1}{A 255 eq{pop 254}{ -A A add 255 and S 1 and or}ifelse}ifelse put 1 adv}B/rsh{rw cp 2 copy -get A 0 eq{pop 128}{A 255 eq{pop 127}{A 2 idiv S 128 and or}ifelse} -ifelse put 1 adv}B/clr{rw cp 2 index string putinterval adv}B/set{rw cp -fillstr 0 4 index getinterval putinterval adv}B/fillstr 18 string 0 1 17 -{2 copy 255 put pop}for N/pl[{adv 1 chg}{adv 1 chg nd}{1 add chg}{1 add -chg nd}{adv lsh}{adv lsh nd}{adv rsh}{adv rsh nd}{1 add adv}{/rc X nd}{ -1 add set}{1 add clr}{adv 2 chg}{adv 2 chg nd}{pop nd}]A{bind pop} -forall N/D{/cc X A type/stringtype ne{]}if nn/base get cc ctr put nn -/BitMaps get S ctr S sf 1 ne{A A length 1 sub A 2 index S get sf div put -}if put/ctr ctr 1 add N}B/I{cc 1 add D}B/bop{userdict/bop-hook known{ -bop-hook}if/SI save N @rigin 0 0 moveto/V matrix currentmatrix A 1 get A -mul exch 0 get A mul add .99 lt{/QV}{/RV}ifelse load def pop pop}N/eop{ -SI restore userdict/eop-hook known{eop-hook}if showpage}N/@start{ -userdict/start-hook known{start-hook}if pop/VResolution X/Resolution X -1000 div/DVImag X/IE 256 array N 2 string 0 1 255{IE S A 360 add 36 4 -index cvrs cvn put}for pop 65781.76 div/vsize X 65781.76 div/hsize X}N -/p{show}N/RMat[1 0 0 -1 0 0]N/BDot 260 string N/Rx 0 N/Ry 0 N/v{/Ry X -/Rx X V}B/V{}B/RV statusdict begin/product where{pop false[(Display) -(NeXT)(LaserWriter 16/600)]{A length product length le{A length product -exch 0 exch getinterval eq{pop true exit}if}{pop}ifelse}forall}{false} -ifelse end{{gsave TR -.1 .1 TR 1 1 scale Rx Ry false RMat{BDot} -imagemask grestore}}{{gsave TR -.1 .1 TR Rx Ry scale 1 1 false RMat{ -BDot}imagemask grestore}}ifelse B/QV{gsave newpath transform round exch -round exch itransform moveto Rx 0 rlineto 0 Ry neg rlineto Rx neg 0 -rlineto fill grestore}B/a{moveto}B/delta 0 N/tail{A/delta X 0 rmoveto}B -/M{S p delta add tail}B/b{S p tail}B/c{-4 M}B/d{-3 M}B/e{-2 M}B/f{-1 M} -B/g{0 M}B/h{1 M}B/i{2 M}B/j{3 M}B/k{4 M}B/w{0 rmoveto}B/l{p -4 w}B/m{p --3 w}B/n{p -2 w}B/o{p -1 w}B/q{p 1 w}B/r{p 2 w}B/s{p 3 w}B/t{p 4 w}B/x{ -0 S rmoveto}B/y{3 2 roll p a}B/bos{/SS save N}B/eos{SS restore}B end - 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-%%EndProcSet -%%BeginProcSet: psslurs.pro -% This file can be used instead of psslurs.pro, it is only commented -% and indented. -% -% VERSION: 1.0 -% -% WARNING! This is a heavy magic! If you want something more understandable, -% you will have to write it yourself (if it is possible in a stack-oriented -% language that PostScript is). There are some constants you can -% change and see what happens, but I think the slurs should be almost -% always satisfiable. When not, let me know at: -% standa@hiero.cz -% Also any bug reports and comments are welcomed. -% -% Stanislav Kneifl. - -/slur@Dict 200 dict def - -% this dictionary is for \setslurtext, overriding some dvips's definitions -/temp@xx@dict 4 dict def temp@xx@dict begin - /a { moveto ax1 ay1 rmoveto } def - /V {gsave newpath transform round exch round exch itransform - exch ax1 add exch ay1 add moveto rulex 0 rlineto 0 ruley neg - rlineto rulex neg 0 rlineto fill grestore} def -end - -TeXDict begin -% get dimen from TeX's string ("125pt" -> 125 PS points) -/GD { dup length 2 sub 0 exch getinterval cvr 1.045 mul} def -% get dimen adjusted to Resolution -/GDAR { dup length 2 sub 0 exch getinterval cvr 4 AR mul 1.045 mul} def -% Adjust to Resolution -/AR { Resolution mul 300 div } def -% the distances in dvips's PostScript are resolution dependant! -end - -slur@Dict begin -/CP /currentpoint load def -/ED { exch def } bind def -/AR { Resolution mul 300 div } def % stands for Adjust to Resolution, -/VS { dup /ay1 exch ay1 exch linew mul 4 mul add def /ay2 exch ay2 exch linew mul 4 mul add def } def -/y { 3 2 roll ax1 ay1 rmoveto show moveto } def -/M { mul } def -/A { add } def -/SB { sub } def -/P { pop } def -/DP { dup } def -/R { roll } def - -/drawseg { 0 0 moveto - ax1 ay1 - ax1 0.6 mul ax2 0.4 mul add ay1 0.6 mul ay2 0.4 mul add - ax1 ax2 add 2 div ay1 ay2 add 2 div curveto - ax1 0.4 mul ax2 0.6 mul add ay1 0.4 mul ay2 0.6 mul add - ax2 ay2 - x2 0 curveto } def - -/DS { - AR /maxe ED - /ifadjust ED - /ifdash ED - AR /m ED % max height of the slur - /e ED % "angularity" of the slur; 0.1 = very angular, - % 0.3 = very round - /aa exch neg def % what to multiply the height with - % AFTER the max height checking - /y2 ED % y coordinate of the end of the slur - /x2 ED % x coordinate of the end of the slur - /y1 ED % y coordinate of the beginning of the slur - /x1 ED % x coordinate of the beginning of the slur - /yr2 ED - /yr1 ED - /internote ED - /x2 x2 x1 sub def % x2=x2-x1 - /y2 y2 y1 sub def % y2=y2-y1 - /sx y2 x2 div def - /b x2 300 mul Resolution div abs sqrt AR 2 mul def % b=2*sqrt(x2) - b 3 AR lt {/b 3 AR def} if % b=max(b,3) - b m gt {/b m def} if % b=min(b,m) - /aa b aa mul def % aa=aa*b - /s 90 x2 y2 atan sub def % s=90-arctan(x2,y2) slope of the slur - /aa aa s cos div def % aa=aa/cos(s) height of the slur - /x2 s neg cos x2 mul s neg sin y2 mul sub def % x2 = x2*cos(-s) - y2*sin(-s) - % is the length of the slur - e x2 mul maxe gt { /e maxe x2 div def } if - /beta e x2 mul aa neg atan def - beta 90 gt {/beta 180 beta sub def} if - /ax1 e x2 mul def % control points - /ay1 aa def - /ax2 1 e sub x2 mul def - /ay2 aa def - -% check if the starting and endin vector stay in desired quadrants -% => beta < abs(s) - beta s abs lt { - /b aa abs s abs 2 add sin mul s abs 2 add cos div def - s aa mul 0 lt { - s cos 0.75 lt { /ax1 ax1 b 1 s cos sub mul 0.5 mul sub def /ay1 ay1 s cos mul 0.8 mul def } if -% ^^^^ ^^^ ^^^ -% (values to play with) - /ax2 x2 b sub def - } - { - /ax1 b def - s cos 0.75 lt { /ax2 b 1 s cos sub mul 0.5 mul ax2 add def /ay2 ay2 s cos mul 0.8 mul def } if -% ^^^^ ^^^ ^^^ - } ifelse - } if - -% align the slur to the staff lines - - gsave - x1 y1 translate - s rotate -% [1 0 sx 1 0 0] concat - drawseg - gsave - initmatrix - flattenpath - pathbbox - exch pop - sub - /slh ED % in slh we have the height of the whole slur - pop - grestore - - /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def - /slh yr slh internote div aa 0 gt { add } { sub } ifelse 2 div def -% check if the slur gets too close to staff line - /shift 0 def - slh 4.45 lt slh -0.5 gt and { - /slh slh dup truncate sub def - slh 0 lt { /slh 1 slh add def } if - aa 0 gt { /slh 1 slh sub def } if - - % slh now contains the position ot the slur top/bottom in the space - % between the nearest staff lines (from <0,1>), regardless direction - - % slur is too low: - slh 0.45 lt { /shift 0.45 slh sub def } if - % slur is too high, but we can be shift it down: - slh 0.7 gt slh 0.85 lt and { /shift 0.7 slh sub def } if - % slur is too high, must be shifted up: - slh 0.85 ge { /shift 1.45 slh sub def } if - } if - - aa 0 gt { /shift shift neg def } if - - ifadjust 0 eq { - /shift 0 def - } if - - -% and finally draw it... - - grestore - gsave - /linew internote 0.06 mul AR def - linew 4 mul setlinewidth - 1 setlinecap - 0 setlinejoin - ifdash 1 eq - { [internote 8 mul AR internote 5 mul AR] 0 setdash } if - x1 y1 shift neg 2 mul internote mul 4 AR mul add translate - s rotate -% [1 sx 0 1 0 0] concat - -% uncomment this to see the control points -% 5 AR setlinewidth ax1 ay1 moveto 0.1 0 rlineto stroke -% ax2 ay2 moveto 0.1 0 rlineto stroke linew setlinewidth - - drawseg - 1 VS - drawseg - -2 VS - drawseg - x2 20 AR gt { - 3 VS - drawseg - } if - x2 50 AR gt { - -4 VS - drawseg - } if - x2 80 AR gt { - 5 VS - drawseg - } if - stroke - - grestore - - % now some \slurtext code... - - /x1 ax1 ax2 add 2 div def % middle of the slur - /y1 ay1 ay2 add 2 div def - x1 s cos mul y1 s sin mul add neg - y1 s cos mul x1 s sin mul sub - aa 0 lt {1} {0} ifelse - end - - % this is a hack to place the slurtext in the middle of the slur. - % From unknown reasons simple 'ax1 ay1 translate' did not work, - % so we have to overlay some definitions with our own, namely - % 'a', which is originally 'moveto' and 'V' for drawing rules. - % maybe there are some other operations that should be redefined, - % but for almost all cases this will be sufficient. If you find - % anything that won't be typeset at the correct position, let me know... - - temp@xx@dict begin - /dir exch def - /ay1 exch def - /ax1 exch def -} def - -% crescendos -/DC { - /y2 ED - /x2 ED - /y1 ED - /x1 ED - gsave - 1 AR ceiling setlinewidth % line thickness: this results - 1 setlinecap % to exactly 2 pixels in 300 dpi - 1 setlinejoin - x2 y2 10 AR add moveto % the 10's specify wideness of the - x1 y1 lineto % open end of the crescendo, - x2 y2 10 AR sub lineto % similarly the 11's below - stroke - grestore -} def - -% half crescendos -/DHC { - /y2 ED - /x2 ED - /y1 ED - /x1 ED - gsave - 1 AR ceiling setlinewidth - 1 setlinecap - 1 setlinejoin - x2 y2 11 AR add moveto - x1 y1 4 AR add lineto stroke - x1 y1 4 AR sub moveto - x2 y2 11 AR sub lineto - stroke - grestore -} def - -% differenced line - -/DLN { - gsave - GDAR ceiling setlinewidth - GDAR exch GDAR neg rlineto - stroke - grestore -} def - -% sloped line - -/DSLN { - gsave - GDAR ceiling setlinewidth - GDAR exch 1.125 mul neg rotate 0 rlineto - stroke - grestore -} def - -% free line (init & terminate) - -/DFLN { - gsave - GDAR ceiling setlinewidth - CP moveto - lineto - stroke - grestore -} def - -end - - -%%EndProcSet -%%BeginProcSet: texps.pro -%! 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/pss@rega 0 N /psc@rega 0 N /pst@rega 0 N end - 3638 262 a --364 504 4002 4 v -364 538 V -364 571 V -364 604 V -364 -637 V -364 602 a Fb(G)-254 503 y(4)-221 552 y(4)-188 -486 y(4)-155 536 y(4)-246 735 y Fa(K+0+4)p -8 636 4 125 -v -46 636 a Fb(\007)p 121 619 4 115 v 83 619 a(\007)p -250 602 4 105 v 212 602 a(\007)-8 511 y(\204)116 505 -y(\204)p 380 586 4 95 v 342 586 a(\007)p 471 660 4 92 -v 472 569 a(\007)p 601 654 4 102 v 602 552 a(\007)p 730 -648 4 112 v 731 536 a(\007)471 661 y(\204)597 655 y(\204)p -859 642 4 122 v 860 519 a(\007)p 989 637 4 135 v 1095 -619 4 125 v 1057 619 a(\007)p 1225 602 4 115 v 1187 602 -a(\007)p 1354 586 4 105 v 1316 586 a(\007)1565 719 y -Fa(K+0-4)1095 494 y Fb(\204)1219 488 y(\204)p 1484 569 -4 95 v 1446 569 a(\007)1585 503 y(6)1618 552 y(6)1651 -486 y(6)1684 536 y(6)1718 569 y(2)1751 519 y(2)1784 586 -y(2)1817 536 y(2)p 1893 644 4 92 v 1894 552 a(\007)1982 -536 y(6)p 2022 638 4 102 v 1 w(\007)2112 519 y(6)p 2152 -632 4 112 v 1 w(\007)1893 645 y(\204)2019 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generated by the `filecontents' environment -%% from source `pmxccn' on 2011/07/14. -%% -%!PS-Adobe-3.0 EPSF-3.0 -%%Creator: dvips(k) 5.90a Copyright 2002 Radical Eye Software -%%Title: kslurs1.dvi -%%CreationDate: Wed Jan 21 13:59:24 2004 -%%Pages: 1 -%%PageOrder: Ascend -%%BoundingBox: 28 735 312 782 -%%DocumentFonts: TeXMUSIX16-Regular CMTT10 -%%EndComments -%DVIPSWebPage: (www.radicaleye.com) -%DVIPSCommandLine: C:\MIKTEX\TEXMF\MIKTEX\BIN\DVIPS.EXE kslurs1.dvi -%DVIPSParameters: dpi=600, compressed -%DVIPSSource: TeX output 2004.01.21:1359 -%%BeginProcSet: texc.pro -%! -/TeXDict 300 dict def TeXDict begin/N{def}def/B{bind def}N/S{exch}N/X{S -N}B/A{dup}B/TR{translate}N/isls false N/vsize 11 72 mul N/hsize 8.5 72 -mul N/landplus90{false}def/@rigin{isls{[0 landplus90{1 -1}{-1 1}ifelse 0 -0 0]concat}if 72 Resolution div 72 VResolution div neg scale isls{ -landplus90{VResolution 72 div vsize mul 0 exch}{Resolution -72 div hsize -mul 0}ifelse TR}if Resolution VResolution vsize -72 div 1 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This is a heavy magic! If you want something more understandable, -% you will have to write it yourself (if it is possible in a stack-oriented -% language that PostScript is). There are some constants you can -% change and see what happens, but I think the slurs should be almost -% always satisfiable. When not, let me know at: -% standa@hiero.cz -% Also any bug reports and comments are welcomed. -% -% Stanislav Kneifl. - -/slur@Dict 200 dict def - -% this dictionary is for \setslurtext, overriding some dvips's definitions -/temp@xx@dict 4 dict def temp@xx@dict begin - /a { moveto ax1 ay1 rmoveto } def - /V {gsave newpath transform round exch round exch itransform - exch ax1 add exch ay1 add moveto rulex 0 rlineto 0 ruley neg - rlineto rulex neg 0 rlineto fill grestore} def -end - -TeXDict begin -% get dimen from TeX's string ("125pt" -> 125 PS points) -/GD { dup length 2 sub 0 exch getinterval cvr 1.045 mul} def -% get dimen adjusted to Resolution -/GDAR { dup length 2 sub 0 exch getinterval cvr 4 AR mul 1.045 mul} def -% Adjust to Resolution -/AR { Resolution mul 300 div } def -% the distances in dvips's PostScript are resolution dependant! -end - -slur@Dict begin -/CP /currentpoint load def -/ED { exch def } bind def -/AR { Resolution mul 300 div } def % stands for Adjust to Resolution, -/VS { dup /ay1 exch ay1 exch linew mul 4 mul add def /ay2 exch ay2 exch linew mul 4 mul add def } def -/y { 3 2 roll ax1 ay1 rmoveto show moveto } def -/M { mul } def -/A { add } def -/SB { sub } def -/P { pop } def -/DP { dup } def -/R { roll } def - -/drawseg { 0 0 moveto - ax1 ay1 - ax1 0.6 mul ax2 0.4 mul add ay1 0.6 mul ay2 0.4 mul add - ax1 ax2 add 2 div ay1 ay2 add 2 div curveto - ax1 0.4 mul ax2 0.6 mul add ay1 0.4 mul ay2 0.6 mul add - ax2 ay2 - x2 0 curveto } def - -/DS { - AR /maxe ED - /ifadjust ED - /ifdash ED - AR /m ED % max height of the slur - /e ED % "angularity" of the slur; 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Fb(\007)1814 -63 y - slur@Dict begin (2.0pt) GD S0hgt (4.0pt) GD 1.6 (2.0pt) GD M S0dir -M A S0x1 S0y1 CP (3.20001pt) GDAR S0dir M SB 2.8 S0dir M 0.13 40 S0dash -S0adj 90 DS /ay1 ay1 (0.0pt) GDAR -10 AR add dir mul add def - 1814 63 a 1814 63 a - end - 1814 63 a 1833 63 4 117 v -19 -w Fb(\007)p 1982 98 4 135 v 1986 262 a - slur@Dict begin /pss@rega 0 N /psc@rega 0 N /pst@rega 0 N end - 1986 262 a eop -end -%%Trailer - -userdict /end-hook known{end-hook}if -%%EOF diff --git a/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/kslurs2.eps b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/kslurs2.eps deleted file mode 100644 index 6a6b22473ed..00000000000 --- a/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/kslurs2.eps +++ /dev/null @@ -1,727 +0,0 @@ -%% LaTeX2e file `eps/kslurs2.eps' -%% generated by the `filecontents' environment -%% from source `pmxccn' on 2011/07/14. -%% -%!PS-Adobe-3.0 EPSF-3.0 -%%Creator: dvips(k) 5.90a Copyright 2002 Radical Eye Software -%%Title: kslurs2.dvi -%%CreationDate: 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tail}B/c{-4 M}B/d{-3 M}B/e{-2 M}B/f{-1 M} -B/g{0 M}B/h{1 M}B/i{2 M}B/j{3 M}B/k{4 M}B/w{0 rmoveto}B/l{p -4 w}B/m{p --3 w}B/n{p -2 w}B/o{p -1 w}B/q{p 1 w}B/r{p 2 w}B/s{p 3 w}B/t{p 4 w}B/x{ -0 S rmoveto}B/y{3 2 roll p a}B/bos{/SS save N}B/eos{SS restore}B end - -%%EndProcSet -%%BeginProcSet: psslurs.pro -% This file can be used instead of psslurs.pro, it is only commented -% and indented. -% -% VERSION: 1.0 -% -% WARNING! This is a heavy magic! If you want something more understandable, -% you will have to write it yourself (if it is possible in a stack-oriented -% language that PostScript is). There are some constants you can -% change and see what happens, but I think the slurs should be almost -% always satisfiable. When not, let me know at: -% standa@hiero.cz -% Also any bug reports and comments are welcomed. -% -% Stanislav Kneifl. - -/slur@Dict 200 dict def - -% this dictionary is for \setslurtext, overriding some dvips's definitions -/temp@xx@dict 4 dict def temp@xx@dict begin - /a { moveto ax1 ay1 rmoveto } def - /V {gsave newpath transform round exch round exch itransform - exch ax1 add exch ay1 add moveto rulex 0 rlineto 0 ruley neg - rlineto rulex neg 0 rlineto fill grestore} def -end - -TeXDict begin -% get dimen from TeX's string ("125pt" -> 125 PS points) -/GD { dup length 2 sub 0 exch getinterval cvr 1.045 mul} def -% get dimen adjusted to Resolution -/GDAR { dup length 2 sub 0 exch getinterval cvr 4 AR mul 1.045 mul} def -% Adjust to Resolution -/AR { Resolution mul 300 div } def -% the distances in dvips's PostScript are resolution dependant! -end - -slur@Dict begin -/CP /currentpoint load def -/ED { exch def } bind def -/AR { Resolution mul 300 div } def % stands for Adjust to Resolution, -/VS { dup /ay1 exch ay1 exch linew mul 4 mul add def /ay2 exch ay2 exch linew mul 4 mul add def } def -/y { 3 2 roll ax1 ay1 rmoveto show moveto } def -/M { mul } def -/A { add } def -/SB { sub } def -/P { pop } def -/DP { dup } def -/R { roll } def - -/drawseg { 0 0 moveto - ax1 ay1 - ax1 0.6 mul ax2 0.4 mul add ay1 0.6 mul ay2 0.4 mul add - ax1 ax2 add 2 div ay1 ay2 add 2 div curveto - ax1 0.4 mul ax2 0.6 mul add ay1 0.4 mul ay2 0.6 mul add - ax2 ay2 - x2 0 curveto } def - -/DS { - AR /maxe ED - /ifadjust ED - /ifdash ED - AR /m ED % max height of the slur - /e ED % "angularity" of the slur; 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This is a heavy magic! If you want something more understandable, -% you will have to write it yourself (if it is possible in a stack-oriented -% language that PostScript is). There are some constants you can -% change and see what happens, but I think the slurs should be almost -% always satisfiable. When not, let me know at: -% standa@hiero.cz -% Also any bug reports and comments are welcomed. -% -% Stanislav Kneifl. - -/slur@Dict 200 dict def - -% this dictionary is for \setslurtext, overriding some dvips's definitions -/temp@xx@dict 4 dict def temp@xx@dict begin - /a { moveto ax1 ay1 rmoveto } def - /V {gsave newpath transform round exch round exch itransform - exch ax1 add exch ay1 add moveto rulex 0 rlineto 0 ruley neg - rlineto rulex neg 0 rlineto fill grestore} def -end - -TeXDict begin -% get dimen from TeX's string ("125pt" -> 125 PS points) -/GD { dup length 2 sub 0 exch getinterval cvr 1.045 mul} def -% get dimen adjusted to Resolution -/GDAR { dup length 2 sub 0 exch getinterval cvr 4 AR mul 1.045 mul} def -% Adjust to Resolution -/AR { Resolution mul 300 div } def -% the distances in dvips's PostScript are resolution dependant! -end - -slur@Dict begin -/CP /currentpoint load def -/ED { exch def } bind def -/AR { Resolution mul 300 div } def % stands for Adjust to Resolution, -/VS { dup /ay1 exch ay1 exch linew mul 4 mul add def /ay2 exch ay2 exch linew mul 4 mul add def } def -/y { 3 2 roll ax1 ay1 rmoveto show moveto } def -/M { mul } def -/A { add } def -/SB { sub } def -/P { pop } def -/DP { dup } def -/R { roll } def - -/drawseg { 0 0 moveto - ax1 ay1 - ax1 0.6 mul ax2 0.4 mul add ay1 0.6 mul ay2 0.4 mul add - ax1 ax2 add 2 div ay1 ay2 add 2 div curveto - ax1 0.4 mul ax2 0.6 mul add ay1 0.4 mul ay2 0.6 mul add - ax2 ay2 - x2 0 curveto } def - -/DS { - AR /maxe ED - /ifadjust ED - /ifdash ED - AR /m ED % max height of the slur - /e ED % "angularity" of the slur; 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This is a heavy magic! If you want something more understandable, -% you will have to write it yourself (if it is possible in a stack-oriented -% language that PostScript is). There are some constants you can -% change and see what happens, but I think the slurs should be almost -% always satisfiable. When not, let me know at: -% standa@hiero.cz -% Also any bug reports and comments are welcomed. -% -% Stanislav Kneifl. - -/slur@Dict 200 dict def - -% this dictionary is for \setslurtext, overriding some dvips's definitions -/temp@xx@dict 4 dict def temp@xx@dict begin - /a { moveto ax1 ay1 rmoveto } def - /V {gsave newpath transform round exch round exch itransform - exch ax1 add exch ay1 add moveto rulex 0 rlineto 0 ruley neg - rlineto rulex neg 0 rlineto fill grestore} def -end - -TeXDict begin -% get dimen from TeX's string ("125pt" -> 125 PS points) -/GD { dup length 2 sub 0 exch getinterval cvr 1.045 mul} def -% get dimen adjusted to Resolution -/GDAR { dup length 2 sub 0 exch getinterval cvr 4 AR mul 1.045 mul} def -% Adjust to Resolution -/AR { Resolution mul 300 div } def -% the distances in dvips's PostScript are resolution dependant! -end - -slur@Dict begin -/CP /currentpoint load def -/ED { exch def } bind def -/AR { Resolution mul 300 div } def % stands for Adjust to Resolution, -/VS { dup /ay1 exch ay1 exch linew mul 4 mul add def /ay2 exch ay2 exch linew mul 4 mul add def } def -/y { 3 2 roll ax1 ay1 rmoveto show moveto } def -/M { mul } def -/A { add } def -/SB { sub } def -/P { pop } def -/DP { dup } def -/R { roll } def - -/drawseg { 0 0 moveto - ax1 ay1 - ax1 0.6 mul ax2 0.4 mul add ay1 0.6 mul ay2 0.4 mul add - ax1 ax2 add 2 div ay1 ay2 add 2 div curveto - ax1 0.4 mul ax2 0.6 mul add ay1 0.4 mul ay2 0.6 mul add - ax2 ay2 - x2 0 curveto } def - -/DS { - AR /maxe ED - /ifadjust ED - /ifdash ED - AR /m ED % max height of the slur - /e ED % "angularity" of the slur; 0.1 = very angular, - % 0.3 = very round - /aa exch neg def % what to multiply the height with - % AFTER the max height checking - /y2 ED % y coordinate of the end of the slur - /x2 ED % x coordinate of the end of the slur - /y1 ED % y coordinate of the beginning of the slur - /x1 ED % x coordinate of the beginning of the slur - /yr2 ED - /yr1 ED - /internote ED - /x2 x2 x1 sub def % x2=x2-x1 - /y2 y2 y1 sub def % y2=y2-y1 - /sx y2 x2 div def - /b x2 300 mul Resolution div abs sqrt AR 2 mul def % b=2*sqrt(x2) - b 3 AR lt {/b 3 AR def} if % b=max(b,3) - b m gt {/b m def} if % b=min(b,m) - /aa b aa mul def % aa=aa*b - /s 90 x2 y2 atan sub def % s=90-arctan(x2,y2) slope of the slur - /aa aa s cos div def % aa=aa/cos(s) height of the slur - /x2 s neg cos x2 mul s neg sin y2 mul sub def % x2 = x2*cos(-s) - y2*sin(-s) - % is the length of the slur - e x2 mul maxe gt { /e maxe x2 div def } if - /beta e x2 mul aa neg atan def - beta 90 gt {/beta 180 beta sub def} if - /ax1 e x2 mul def % control points - /ay1 aa def - /ax2 1 e sub x2 mul def - /ay2 aa def - -% check if the starting and endin vector stay in desired quadrants -% => beta < abs(s) - beta s abs lt { - /b aa abs s abs 2 add sin mul s abs 2 add cos div def - s aa mul 0 lt { - s cos 0.75 lt { /ax1 ax1 b 1 s cos sub mul 0.5 mul sub def /ay1 ay1 s cos mul 0.8 mul def } if -% ^^^^ ^^^ ^^^ -% (values to play with) - /ax2 x2 b sub def - } - { - /ax1 b def - s cos 0.75 lt { /ax2 b 1 s cos sub mul 0.5 mul ax2 add def /ay2 ay2 s cos mul 0.8 mul def } if -% ^^^^ ^^^ ^^^ - } ifelse - } if - -% align the slur to the staff lines - - gsave - x1 y1 translate - s rotate -% [1 0 sx 1 0 0] concat - drawseg - gsave - initmatrix - flattenpath - pathbbox - exch pop - sub - /slh ED % in slh we have the height of the whole slur - pop - grestore - - /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def - /slh yr slh internote div aa 0 gt { add } { sub } ifelse 2 div def -% check if the slur gets too close to staff line - /shift 0 def - slh 4.45 lt slh -0.5 gt and { - /slh slh dup truncate sub def - slh 0 lt { /slh 1 slh add def } if - aa 0 gt { /slh 1 slh sub def } if - - % slh now contains the position ot the slur top/bottom in the space - % between the nearest staff lines (from <0,1>), regardless direction - - % slur is too low: - slh 0.45 lt { /shift 0.45 slh sub def } if - % slur is too high, but we can be shift it down: - slh 0.7 gt slh 0.85 lt and { /shift 0.7 slh sub def } if - % slur is too high, must be shifted up: - slh 0.85 ge { /shift 1.45 slh sub def } if - } if - - aa 0 gt { /shift shift neg def } if - - ifadjust 0 eq { - /shift 0 def - } if - - -% and finally draw it... - - grestore - gsave - /linew internote 0.06 mul AR def - linew 4 mul setlinewidth - 1 setlinecap - 0 setlinejoin - ifdash 1 eq - { [internote 8 mul AR internote 5 mul AR] 0 setdash } if - x1 y1 shift neg 2 mul internote mul 4 AR mul add translate - s rotate -% [1 sx 0 1 0 0] concat - -% uncomment this to see the control points -% 5 AR setlinewidth ax1 ay1 moveto 0.1 0 rlineto stroke -% ax2 ay2 moveto 0.1 0 rlineto stroke linew setlinewidth - - drawseg - 1 VS - drawseg - -2 VS - drawseg - x2 20 AR gt { - 3 VS - drawseg - } if - x2 50 AR gt { - -4 VS - drawseg - } if - x2 80 AR gt { - 5 VS - drawseg - } if - stroke - - grestore - - % now some \slurtext code... - - /x1 ax1 ax2 add 2 div def % middle of the slur - /y1 ay1 ay2 add 2 div def - x1 s cos mul y1 s sin mul add neg - y1 s cos mul x1 s sin mul sub - aa 0 lt {1} {0} ifelse - end - - % this is a hack to place the slurtext in the middle of the slur. - % From unknown reasons simple 'ax1 ay1 translate' did not work, - % so we have to overlay some definitions with our own, namely - % 'a', which is originally 'moveto' and 'V' for drawing rules. - % maybe there are some other operations that should be redefined, - % but for almost all cases this will be sufficient. 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This is a heavy magic! If you want something more understandable, -% you will have to write it yourself (if it is possible in a stack-oriented -% language that PostScript is). There are some constants you can -% change and see what happens, but I think the slurs should be almost -% always satisfiable. 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0.1 = very angular, - % 0.3 = very round - /aa exch neg def % what to multiply the height with - % AFTER the max height checking - /y2 ED % y coordinate of the end of the slur - /x2 ED % x coordinate of the end of the slur - /y1 ED % y coordinate of the beginning of the slur - /x1 ED % x coordinate of the beginning of the slur - /yr2 ED - /yr1 ED - /internote ED - /x2 x2 x1 sub def % x2=x2-x1 - /y2 y2 y1 sub def % y2=y2-y1 - /sx y2 x2 div def - /b x2 300 mul Resolution div abs sqrt AR 2 mul def % b=2*sqrt(x2) - b 3 AR lt {/b 3 AR def} if % b=max(b,3) - b m gt {/b m def} if % b=min(b,m) - /aa b aa mul def % aa=aa*b - /s 90 x2 y2 atan sub def % s=90-arctan(x2,y2) slope of the slur - /aa aa s cos div def % aa=aa/cos(s) height of the slur - /x2 s neg cos x2 mul s neg sin y2 mul sub def % x2 = x2*cos(-s) - y2*sin(-s) - % is the length of the slur - e x2 mul maxe gt { /e maxe x2 div def } if - /beta e x2 mul aa neg atan def - beta 90 gt {/beta 180 beta sub def} if - /ax1 e x2 mul def % control points - /ay1 aa def - /ax2 1 e sub x2 mul def - /ay2 aa def - -% check if the starting and endin vector stay in desired quadrants -% => beta < abs(s) - beta s abs lt { - /b aa abs s abs 2 add sin mul s abs 2 add cos div def - s aa mul 0 lt { - s cos 0.75 lt { /ax1 ax1 b 1 s cos sub mul 0.5 mul sub def /ay1 ay1 s cos mul 0.8 mul def } if -% ^^^^ ^^^ ^^^ -% (values to play with) - /ax2 x2 b sub def - } - { - /ax1 b def - s cos 0.75 lt { /ax2 b 1 s cos sub mul 0.5 mul ax2 add def /ay2 ay2 s cos mul 0.8 mul def } if -% ^^^^ ^^^ ^^^ - } ifelse - } if - -% align the slur to the staff lines - - gsave - x1 y1 translate - s rotate -% [1 0 sx 1 0 0] concat - drawseg - gsave - initmatrix - flattenpath - pathbbox - exch pop - sub - /slh ED % in slh we have the height of the whole slur - pop - grestore - - /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def - /slh yr slh internote div aa 0 gt { add } { sub } ifelse 2 div def -% check if the slur gets too close to staff line - /shift 0 def - slh 4.45 lt slh -0.5 gt and { - /slh slh dup truncate sub def - slh 0 lt { /slh 1 slh add def } if - aa 0 gt { /slh 1 slh sub def } if - - % slh now contains the position ot the slur top/bottom in the space - % between the nearest staff lines (from <0,1>), regardless direction - - % slur is too low: - slh 0.45 lt { /shift 0.45 slh sub def } if - % slur is too high, but we can be shift it down: - slh 0.7 gt slh 0.85 lt and { /shift 0.7 slh sub def } if - % slur is too high, must be shifted up: - slh 0.85 ge { /shift 1.45 slh sub def } if - } if - - aa 0 gt { /shift shift neg def } if - - ifadjust 0 eq { - /shift 0 def - } if - - -% and finally draw it... - - grestore - gsave - /linew internote 0.06 mul AR def - linew 4 mul setlinewidth - 1 setlinecap - 0 setlinejoin - ifdash 1 eq - { [internote 8 mul AR internote 5 mul AR] 0 setdash } if - x1 y1 shift neg 2 mul internote mul 4 AR mul add translate - s rotate -% [1 sx 0 1 0 0] concat - -% uncomment this to see the control points -% 5 AR setlinewidth ax1 ay1 moveto 0.1 0 rlineto stroke -% ax2 ay2 moveto 0.1 0 rlineto stroke linew setlinewidth - - drawseg - 1 VS - drawseg - -2 VS - drawseg - x2 20 AR gt { - 3 VS - drawseg - } if - x2 50 AR gt { - -4 VS - drawseg - } if - x2 80 AR gt { - 5 VS - drawseg - } if - stroke - - grestore - - % now some \slurtext code... - - /x1 ax1 ax2 add 2 div def % middle of the slur - /y1 ay1 ay2 add 2 div def - x1 s cos mul y1 s sin mul add neg - y1 s cos mul x1 s sin mul sub - aa 0 lt {1} {0} ifelse - end - - % this is a hack to place the slurtext in the middle of the slur. - % From unknown reasons simple 'ax1 ay1 translate' did not work, - % so we have to overlay some definitions with our own, namely - % 'a', which is originally 'moveto' and 'V' for drawing rules. - % maybe there are some other operations that should be redefined, - % but for almost all cases this will be sufficient. If you find - % anything that won't be typeset at the correct position, let me know... - - temp@xx@dict begin - /dir exch def - /ay1 exch def - /ax1 exch def -} def - -% crescendos -/DC { - /y2 ED - /x2 ED - /y1 ED - /x1 ED - gsave - 1 AR ceiling setlinewidth % line thickness: this results - 1 setlinecap % to exactly 2 pixels in 300 dpi - 1 setlinejoin - x2 y2 10 AR add moveto % the 10's specify wideness of the - x1 y1 lineto % open end of the crescendo, - x2 y2 10 AR sub lineto % similarly the 11's below - stroke - grestore -} def - -% half crescendos -/DHC { - /y2 ED - /x2 ED - /y1 ED - /x1 ED - gsave - 1 AR ceiling setlinewidth - 1 setlinecap - 1 setlinejoin - x2 y2 11 AR add moveto - x1 y1 4 AR add lineto stroke - x1 y1 4 AR sub moveto - x2 y2 11 AR sub lineto - stroke - grestore -} def - -% differenced line - -/DLN { - gsave - GDAR ceiling setlinewidth - GDAR exch GDAR neg rlineto - stroke - grestore -} def - -% sloped line - -/DSLN { - gsave - GDAR ceiling setlinewidth - GDAR exch 1.125 mul neg rotate 0 rlineto - stroke - grestore -} def - -% free line (init & terminate) - -/DFLN { - gsave - GDAR ceiling setlinewidth - CP moveto - lineto - stroke - grestore -} def - -end - - -%%EndProcSet -%%BeginProcSet: texps.pro -%! 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-(NeXT)(LaserWriter 16/600)]{A length product length le{A length product -exch 0 exch getinterval eq{pop true exit}if}{pop}ifelse}forall}{false} -ifelse end{{gsave TR -.1 .1 TR 1 1 scale Rx Ry false RMat{BDot} -imagemask grestore}}{{gsave TR -.1 .1 TR Rx Ry scale 1 1 false RMat{ -BDot}imagemask grestore}}ifelse B/QV{gsave newpath transform round exch -round exch itransform moveto Rx 0 rlineto 0 Ry neg rlineto Rx neg 0 -rlineto fill grestore}B/a{moveto}B/delta 0 N/tail{A/delta X 0 rmoveto}B -/M{S p delta add tail}B/b{S p tail}B/c{-4 M}B/d{-3 M}B/e{-2 M}B/f{-1 M} -B/g{0 M}B/h{1 M}B/i{2 M}B/j{3 M}B/k{4 M}B/w{0 rmoveto}B/l{p -4 w}B/m{p --3 w}B/n{p -2 w}B/o{p -1 w}B/q{p 1 w}B/r{p 2 w}B/s{p 3 w}B/t{p 4 w}B/x{ -0 S rmoveto}B/y{3 2 roll p a}B/bos{/SS save N}B/eos{SS restore}B end - -%%EndProcSet -%%BeginProcSet: psslurs.pro -% This file can be used instead of psslurs.pro, it is only commented -% and indented. -% -% VERSION: 1.0 -% -% WARNING! This is a heavy magic! If you want something more understandable, -% you will have to write it yourself (if it is possible in a stack-oriented -% language that PostScript is). There are some constants you can -% change and see what happens, but I think the slurs should be almost -% always satisfiable. When not, let me know at: -% standa@hiero.cz -% Also any bug reports and comments are welcomed. -% -% Stanislav Kneifl. - -/slur@Dict 200 dict def - -% this dictionary is for \setslurtext, overriding some dvips's definitions -/temp@xx@dict 4 dict def temp@xx@dict begin - /a { moveto ax1 ay1 rmoveto } def - /V {gsave newpath transform round exch round exch itransform - exch ax1 add exch ay1 add moveto rulex 0 rlineto 0 ruley neg - rlineto rulex neg 0 rlineto fill grestore} def -end - -TeXDict begin -% get dimen from TeX's string ("125pt" -> 125 PS points) -/GD { dup length 2 sub 0 exch getinterval cvr 1.045 mul} def -% get dimen adjusted to Resolution -/GDAR { dup length 2 sub 0 exch getinterval cvr 4 AR mul 1.045 mul} def -% Adjust to Resolution -/AR { Resolution mul 300 div } def -% the distances in dvips's PostScript are resolution dependant! -end - -slur@Dict begin -/CP /currentpoint load def -/ED { exch def } bind def -/AR { Resolution mul 300 div } def % stands for Adjust to Resolution, -/VS { dup /ay1 exch ay1 exch linew mul 4 mul add def /ay2 exch ay2 exch linew mul 4 mul add def } def -/y { 3 2 roll ax1 ay1 rmoveto show moveto } def -/M { mul } def -/A { add } def -/SB { sub } def -/P { pop } def -/DP { dup } def -/R { roll } def - -/drawseg { 0 0 moveto - ax1 ay1 - ax1 0.6 mul ax2 0.4 mul add ay1 0.6 mul ay2 0.4 mul add - ax1 ax2 add 2 div ay1 ay2 add 2 div curveto - ax1 0.4 mul ax2 0.6 mul add ay1 0.4 mul ay2 0.6 mul add - ax2 ay2 - x2 0 curveto } def - -/DS { - AR /maxe ED - /ifadjust ED - /ifdash ED - AR /m ED % max height of the slur - /e ED % "angularity" of the slur; 0.1 = very angular, - % 0.3 = very round - /aa exch neg def % what to multiply the height with - % AFTER the max height checking - /y2 ED % y coordinate of the end of the slur - /x2 ED % x coordinate of the end of the slur - /y1 ED % y coordinate of the beginning of the slur - /x1 ED % x coordinate of the beginning of the slur - /yr2 ED - /yr1 ED - /internote ED - /x2 x2 x1 sub def % x2=x2-x1 - /y2 y2 y1 sub def % y2=y2-y1 - /sx y2 x2 div def - /b x2 300 mul Resolution div abs sqrt AR 2 mul def % b=2*sqrt(x2) - b 3 AR lt {/b 3 AR def} if % b=max(b,3) - b m gt {/b m def} if % b=min(b,m) - /aa b aa mul def % aa=aa*b - /s 90 x2 y2 atan sub def % s=90-arctan(x2,y2) slope of the slur - /aa aa s cos div def % aa=aa/cos(s) height of the slur - /x2 s neg cos x2 mul s neg sin y2 mul sub def % x2 = x2*cos(-s) - y2*sin(-s) - % is the length of the slur - e x2 mul maxe gt { /e maxe x2 div def } if - /beta e x2 mul aa neg atan def - beta 90 gt {/beta 180 beta sub def} if - /ax1 e x2 mul def % control points - /ay1 aa def - /ax2 1 e sub x2 mul def - /ay2 aa def - -% check if the starting and endin vector stay in desired quadrants -% => beta < abs(s) - beta s abs lt { - /b aa abs s abs 2 add sin mul s abs 2 add cos div def - s aa mul 0 lt { - s cos 0.75 lt { /ax1 ax1 b 1 s cos sub mul 0.5 mul sub def /ay1 ay1 s cos mul 0.8 mul def } if -% ^^^^ ^^^ ^^^ -% (values to play with) - /ax2 x2 b sub def - } - { - /ax1 b def - s cos 0.75 lt { /ax2 b 1 s cos sub mul 0.5 mul ax2 add def /ay2 ay2 s cos mul 0.8 mul def } if -% ^^^^ ^^^ ^^^ - } ifelse - } if - -% align the slur to the staff lines - - gsave - x1 y1 translate - s rotate -% [1 0 sx 1 0 0] concat - drawseg - gsave - initmatrix - flattenpath - pathbbox - exch pop - sub - /slh ED % in slh we have the height of the whole slur - pop - grestore - - /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def - /slh yr slh internote div aa 0 gt { add } { sub } ifelse 2 div def -% check if the slur gets too close to staff line - /shift 0 def - slh 4.45 lt slh -0.5 gt and { - /slh slh dup truncate sub def - slh 0 lt { /slh 1 slh add def } if - aa 0 gt { /slh 1 slh sub def } if - - % slh now contains the position ot the slur top/bottom in the space - % between the nearest staff lines (from <0,1>), regardless direction - - % slur is too low: - slh 0.45 lt { /shift 0.45 slh sub def } if - % slur is too high, but we can be shift it down: - slh 0.7 gt slh 0.85 lt and { /shift 0.7 slh sub def } if - % slur is too high, must be shifted up: - slh 0.85 ge { /shift 1.45 slh sub def } if - } if - - aa 0 gt { /shift shift neg def } if - - ifadjust 0 eq { - /shift 0 def - } if - - -% and finally draw it... - - grestore - gsave - /linew internote 0.06 mul AR def - linew 4 mul setlinewidth - 1 setlinecap - 0 setlinejoin - ifdash 1 eq - { [internote 8 mul AR internote 5 mul AR] 0 setdash } if - x1 y1 shift neg 2 mul internote mul 4 AR mul add translate - s rotate -% [1 sx 0 1 0 0] concat - -% uncomment this to see the control points -% 5 AR setlinewidth ax1 ay1 moveto 0.1 0 rlineto stroke -% ax2 ay2 moveto 0.1 0 rlineto stroke linew setlinewidth - - drawseg - 1 VS - drawseg - -2 VS - drawseg - x2 20 AR gt { - 3 VS - drawseg - } if - x2 50 AR gt { - -4 VS - drawseg - } if - x2 80 AR gt { - 5 VS - drawseg - } if - stroke - - grestore - - % now some \slurtext code... - - /x1 ax1 ax2 add 2 div def % middle of the slur - /y1 ay1 ay2 add 2 div def - x1 s cos mul y1 s sin mul add neg - y1 s cos mul x1 s sin mul sub - aa 0 lt {1} {0} ifelse - end - - % this is a hack to place the slurtext in the middle of the slur. - % From unknown reasons simple 'ax1 ay1 translate' did not work, - % so we have to overlay some definitions with our own, namely - % 'a', which is originally 'moveto' and 'V' for drawing rules. - % maybe there are some other operations that should be redefined, - % but for almost all cases this will be sufficient. If you find - % anything that won't be typeset at the correct position, let me know... - - temp@xx@dict begin - /dir exch def - /ay1 exch def - /ax1 exch def -} def - -% crescendos -/DC { - /y2 ED - /x2 ED - /y1 ED - /x1 ED - gsave - 1 AR ceiling setlinewidth % line thickness: this results - 1 setlinecap % to exactly 2 pixels in 300 dpi - 1 setlinejoin - x2 y2 10 AR add moveto % the 10's specify wideness of the - x1 y1 lineto % open end of the crescendo, - x2 y2 10 AR sub lineto % similarly the 11's below - stroke - grestore -} def - -% half crescendos -/DHC { - /y2 ED - /x2 ED - /y1 ED - /x1 ED - gsave - 1 AR ceiling setlinewidth - 1 setlinecap - 1 setlinejoin - x2 y2 11 AR add moveto - x1 y1 4 AR add lineto stroke - x1 y1 4 AR sub moveto - x2 y2 11 AR sub lineto - stroke - grestore -} def - -% differenced line - -/DLN { - gsave - GDAR ceiling setlinewidth - GDAR exch GDAR neg rlineto - stroke - grestore -} def - -% sloped line - -/DSLN { - gsave - GDAR ceiling setlinewidth - GDAR exch 1.125 mul neg rotate 0 rlineto - stroke - grestore -} def - -% free line (init & terminate) - -/DFLN { - gsave - GDAR ceiling setlinewidth - CP moveto - lineto - stroke - grestore -} def - -end - - -%%EndProcSet -%%BeginProcSet: texps.pro -%! -TeXDict begin/rf{findfont dup length 1 add dict begin{1 index/FID ne 2 -index/UniqueID ne and{def}{pop pop}ifelse}forall[1 index 0 6 -1 roll -exec 0 exch 5 -1 roll VResolution Resolution div mul neg 0 0]/Metrics -exch def dict begin Encoding{exch dup type/integertype ne{pop pop 1 sub -dup 0 le{pop}{[}ifelse}{FontMatrix 0 get div Metrics 0 get div def} -ifelse}forall Metrics/Metrics currentdict end def[2 index currentdict -end definefont 3 -1 roll makefont/setfont cvx]cvx def}def/ObliqueSlant{ -dup sin S cos div neg}B/SlantFont{4 index mul add}def/ExtendFont{3 -1 -roll mul exch}def/ReEncodeFont{CharStrings rcheck{/Encoding false def -dup[exch{dup CharStrings exch known not{pop/.notdef/Encoding true def} -if}forall Encoding{]exch pop}{cleartomark}ifelse}if/Encoding exch def} -def end - -%%EndProcSet -%%BeginProcSet: special.pro -%! -TeXDict begin/SDict 200 dict N SDict begin/@SpecialDefaults{/hs 612 N -/vs 792 N/ho 0 N/vo 0 N/hsc 1 N/vsc 1 N/ang 0 N/CLIP 0 N/rwiSeen false N -/rhiSeen false N/letter{}N/note{}N/a4{}N/legal{}N}B/@scaleunit 100 N -/@hscale{@scaleunit div/hsc X}B/@vscale{@scaleunit div/vsc X}B/@hsize{ -/hs X/CLIP 1 N}B/@vsize{/vs X/CLIP 1 N}B/@clip{/CLIP 2 N}B/@hoffset{/ho -X}B/@voffset{/vo X}B/@angle{/ang X}B/@rwi{10 div/rwi X/rwiSeen true N}B -/@rhi{10 div/rhi X/rhiSeen true N}B/@llx{/llx X}B/@lly{/lly X}B/@urx{ -/urx X}B/@ury{/ury X}B/magscale true def end/@MacSetUp{userdict/md known -{userdict/md get type/dicttype eq{userdict begin md length 10 add md -maxlength ge{/md md dup length 20 add dict copy def}if end md begin -/letter{}N/note{}N/legal{}N/od{txpose 1 0 mtx defaultmatrix dtransform S -atan/pa X newpath clippath mark{transform{itransform moveto}}{transform{ -itransform lineto}}{6 -2 roll transform 6 -2 roll transform 6 -2 roll -transform{itransform 6 2 roll itransform 6 2 roll itransform 6 2 roll -curveto}}{{closepath}}pathforall newpath counttomark array astore/gc xdf -pop ct 39 0 put 10 fz 0 fs 2 F/|______Courier fnt invertflag{PaintBlack} -if}N/txpose{pxs pys scale ppr aload pop por{noflips{pop S neg S TR pop 1 --1 scale}if xflip yflip and{pop S neg S TR 180 rotate 1 -1 scale ppr 3 -get ppr 1 get neg sub neg ppr 2 get ppr 0 get neg sub neg TR}if xflip -yflip not and{pop S neg S TR pop 180 rotate ppr 3 get ppr 1 get neg sub -neg 0 TR}if yflip xflip not and{ppr 1 get neg ppr 0 get neg TR}if}{ -noflips{TR pop pop 270 rotate 1 -1 scale}if xflip yflip and{TR pop pop -90 rotate 1 -1 scale ppr 3 get ppr 1 get neg sub neg ppr 2 get ppr 0 get -neg sub neg TR}if xflip yflip not and{TR pop pop 90 rotate ppr 3 get ppr -1 get neg sub neg 0 TR}if yflip xflip not and{TR pop pop 270 rotate ppr -2 get ppr 0 get neg sub neg 0 S TR}if}ifelse scaleby96{ppr aload pop 4 --1 roll add 2 div 3 1 roll add 2 div 2 copy TR .96 dup scale neg S neg S -TR}if}N/cp{pop pop showpage pm restore}N end}if}if}N/normalscale{ -Resolution 72 div VResolution 72 div neg scale magscale{DVImag dup scale -}if 0 setgray}N/psfts{S 65781.76 div N}N/startTexFig{/psf$SavedState -save N userdict maxlength dict begin/magscale true def normalscale -currentpoint TR/psf$ury psfts/psf$urx psfts/psf$lly psfts/psf$llx psfts -/psf$y psfts/psf$x psfts currentpoint/psf$cy X/psf$cx X/psf$sx psf$x -psf$urx psf$llx sub div N/psf$sy psf$y psf$ury psf$lly sub div N psf$sx -psf$sy scale psf$cx psf$sx div psf$llx sub psf$cy psf$sy div psf$ury sub -TR/showpage{}N/erasepage{}N/copypage{}N/p 3 def @MacSetUp}N/doclip{ -psf$llx psf$lly psf$urx psf$ury currentpoint 6 2 roll newpath 4 copy 4 2 -roll moveto 6 -1 roll S lineto S lineto S lineto closepath clip newpath -moveto}N/endTexFig{end psf$SavedState restore}N/@beginspecial{SDict -begin/SpecialSave save N gsave normalscale currentpoint TR -@SpecialDefaults count/ocount X/dcount countdictstack N}N/@setspecial{ -CLIP 1 eq{newpath 0 0 moveto hs 0 rlineto 0 vs rlineto hs neg 0 rlineto -closepath clip}if ho vo TR hsc vsc scale ang rotate rwiSeen{rwi urx llx -sub div rhiSeen{rhi ury lly sub div}{dup}ifelse scale llx neg lly neg TR -}{rhiSeen{rhi ury lly sub div dup scale llx neg lly neg TR}if}ifelse -CLIP 2 eq{newpath llx lly moveto urx lly lineto urx ury lineto llx ury -lineto closepath clip}if/showpage{}N/erasepage{}N/copypage{}N newpath}N -/@endspecial{count ocount sub{pop}repeat countdictstack dcount sub{end} -repeat grestore SpecialSave restore end}N/@defspecial{SDict begin}N -/@fedspecial{end}B/li{lineto}B/rl{rlineto}B/rc{rcurveto}B/np{/SaveX -currentpoint/SaveY X N 1 setlinecap newpath}N/st{stroke SaveX SaveY -moveto}N/fil{fill SaveX SaveY moveto}N/ellipse{/endangle X/startangle X -/yrad X/xrad X/savematrix matrix currentmatrix N TR xrad yrad scale 0 0 -1 startangle endangle arc savematrix setmatrix}N end - -%%EndProcSet -%%BeginFont: CMTT10 -%!PS-AdobeFont-1.1: CMTT10 1.00B -%%CreationDate: 1992 Apr 26 10:42:42 -% Copyright (C) 1997 American Mathematical Society. All Rights Reserved. -11 dict begin -/FontInfo 7 dict dup begin -/version (1.00B) readonly def -/Notice (Copyright (C) 1997 American Mathematical Society. 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-%%EndProcSet -%%BeginProcSet: psslurs.pro -% This file can be used instead of psslurs.pro, it is only commented -% and indented. -% -% VERSION: 1.0 -% -% WARNING! This is a heavy magic! If you want something more understandable, -% you will have to write it yourself (if it is possible in a stack-oriented -% language that PostScript is). There are some constants you can -% change and see what happens, but I think the slurs should be almost -% always satisfiable. When not, let me know at: -% standa@hiero.cz -% Also any bug reports and comments are welcomed. -% -% Stanislav Kneifl. - -/slur@Dict 200 dict def - -% this dictionary is for \setslurtext, overriding some dvips's definitions -/temp@xx@dict 4 dict def temp@xx@dict begin - /a { moveto ax1 ay1 rmoveto } def - /V {gsave newpath transform round exch round exch itransform - exch ax1 add exch ay1 add moveto rulex 0 rlineto 0 ruley neg - rlineto rulex neg 0 rlineto fill grestore} def -end - -TeXDict begin -% get dimen from TeX's string ("125pt" -> 125 PS points) -/GD { dup length 2 sub 0 exch getinterval cvr 1.045 mul} def -% get dimen adjusted to Resolution -/GDAR { dup length 2 sub 0 exch getinterval cvr 4 AR mul 1.045 mul} def -% Adjust to Resolution -/AR { Resolution mul 300 div } def -% the distances in dvips's PostScript are resolution dependant! -end - -slur@Dict begin -/CP /currentpoint load def -/ED { exch def } bind def -/AR { Resolution mul 300 div } def % stands for Adjust to Resolution, -/VS { dup /ay1 exch ay1 exch linew mul 4 mul add def /ay2 exch ay2 exch linew mul 4 mul add def } def -/y { 3 2 roll ax1 ay1 rmoveto show moveto } def -/M { mul } def -/A { add } def -/SB { sub } def -/P { pop } def -/DP { dup } def -/R { roll } def - -/drawseg { 0 0 moveto - ax1 ay1 - ax1 0.6 mul ax2 0.4 mul add ay1 0.6 mul ay2 0.4 mul add - ax1 ax2 add 2 div ay1 ay2 add 2 div curveto - ax1 0.4 mul ax2 0.6 mul add ay1 0.4 mul ay2 0.6 mul add - ax2 ay2 - x2 0 curveto } def - -/DS { - AR /maxe ED - /ifadjust ED - /ifdash ED - AR /m ED % max height of the slur - /e ED % "angularity" of the slur; 0.1 = very angular, - % 0.3 = very round - /aa exch neg def % what to multiply the height with - % AFTER the max height checking - /y2 ED % y coordinate of the end of the slur - /x2 ED % x coordinate of the end of the slur - /y1 ED % y coordinate of the beginning of the slur - /x1 ED % x coordinate of the beginning of the slur - /yr2 ED - /yr1 ED - /internote ED - /x2 x2 x1 sub def % x2=x2-x1 - /y2 y2 y1 sub def % y2=y2-y1 - /sx y2 x2 div def - /b x2 300 mul Resolution div abs sqrt AR 2 mul def % b=2*sqrt(x2) - b 3 AR lt {/b 3 AR def} if % b=max(b,3) - b m gt {/b m def} if % b=min(b,m) - /aa b aa mul def % aa=aa*b - /s 90 x2 y2 atan sub def % s=90-arctan(x2,y2) slope of the slur - /aa aa s cos div def % aa=aa/cos(s) height of the slur - /x2 s neg cos x2 mul s neg sin y2 mul sub def % x2 = x2*cos(-s) - y2*sin(-s) - % is the length of the slur - e x2 mul maxe gt { /e maxe x2 div def } if - /beta e x2 mul aa neg atan def - beta 90 gt {/beta 180 beta sub def} if - /ax1 e x2 mul def % control points - /ay1 aa def - /ax2 1 e sub x2 mul def - /ay2 aa def - -% check if the starting and endin vector stay in desired quadrants -% => beta < abs(s) - beta s abs lt { - /b aa abs s abs 2 add sin mul s abs 2 add cos div def - s aa mul 0 lt { - s cos 0.75 lt { /ax1 ax1 b 1 s cos sub mul 0.5 mul sub def /ay1 ay1 s cos mul 0.8 mul def } if -% ^^^^ ^^^ ^^^ -% (values to play with) - /ax2 x2 b sub def - } - { - /ax1 b def - s cos 0.75 lt { /ax2 b 1 s cos sub mul 0.5 mul ax2 add def /ay2 ay2 s cos mul 0.8 mul def } if -% ^^^^ ^^^ ^^^ - } ifelse - } if - -% align the slur to the staff lines - - gsave - x1 y1 translate - s rotate -% [1 0 sx 1 0 0] concat - drawseg - gsave - initmatrix - flattenpath - pathbbox - exch pop - sub - /slh ED % in slh we have the height of the whole slur - pop - grestore - - /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def - /slh yr slh internote div aa 0 gt { add } { sub } ifelse 2 div def -% check if the slur gets too close to staff line - /shift 0 def - slh 4.45 lt slh -0.5 gt and { - /slh slh dup truncate sub def - slh 0 lt { /slh 1 slh add def } if - aa 0 gt { /slh 1 slh sub def } if - - % slh now contains the position ot the slur top/bottom in the space - % between the nearest staff lines (from <0,1>), regardless direction - - % slur is too low: - slh 0.45 lt { /shift 0.45 slh sub def } if - % slur is too high, but we can be shift it down: - slh 0.7 gt slh 0.85 lt and { /shift 0.7 slh sub def } if - % slur is too high, must be shifted up: - slh 0.85 ge { /shift 1.45 slh sub def } if - } if - - aa 0 gt { /shift shift neg def } if - - ifadjust 0 eq { - /shift 0 def - } if - - -% and finally draw it... - - grestore - gsave - /linew internote 0.06 mul AR def - linew 4 mul setlinewidth - 1 setlinecap - 0 setlinejoin - ifdash 1 eq - { [internote 8 mul AR internote 5 mul AR] 0 setdash } if - x1 y1 shift neg 2 mul internote mul 4 AR mul add translate - s rotate -% [1 sx 0 1 0 0] concat - -% uncomment this to see the control points -% 5 AR setlinewidth ax1 ay1 moveto 0.1 0 rlineto stroke -% ax2 ay2 moveto 0.1 0 rlineto stroke linew setlinewidth - - drawseg - 1 VS - drawseg - -2 VS - drawseg - x2 20 AR gt { - 3 VS - drawseg - } if - x2 50 AR gt { - -4 VS - drawseg - } if - x2 80 AR gt { - 5 VS - drawseg - } if - stroke - - grestore - - % now some \slurtext code... - - /x1 ax1 ax2 add 2 div def % middle of the slur - /y1 ay1 ay2 add 2 div def - x1 s cos mul y1 s sin mul add neg - y1 s cos mul x1 s sin mul sub - aa 0 lt {1} {0} ifelse - end - - % this is a hack to place the slurtext in the middle of the slur. - % From unknown reasons simple 'ax1 ay1 translate' did not work, - % so we have to overlay some definitions with our own, namely - % 'a', which is originally 'moveto' and 'V' for drawing rules. - % maybe there are some other operations that should be redefined, - % but for almost all cases this will be sufficient. If you find - % anything that won't be typeset at the correct position, let me know... - - temp@xx@dict begin - /dir exch def - /ay1 exch def - /ax1 exch def -} def - -% crescendos -/DC { - /y2 ED - /x2 ED - /y1 ED - /x1 ED - gsave - 1 AR ceiling setlinewidth % line thickness: this results - 1 setlinecap % to exactly 2 pixels in 300 dpi - 1 setlinejoin - x2 y2 10 AR add moveto % the 10's specify wideness of the - x1 y1 lineto % open end of the crescendo, - x2 y2 10 AR sub lineto % similarly the 11's below - stroke - grestore -} def - -% half crescendos -/DHC { - /y2 ED - /x2 ED - /y1 ED - /x1 ED - gsave - 1 AR ceiling setlinewidth - 1 setlinecap - 1 setlinejoin - x2 y2 11 AR add moveto - x1 y1 4 AR add lineto stroke - x1 y1 4 AR sub moveto - x2 y2 11 AR sub lineto - stroke - grestore -} def - -% differenced line - -/DLN { - gsave - GDAR ceiling setlinewidth - GDAR exch GDAR neg rlineto - stroke - grestore -} def - -% sloped line - -/DSLN { - gsave - GDAR ceiling setlinewidth - GDAR exch 1.125 mul neg rotate 0 rlineto - stroke - grestore -} def - -% free line (init & terminate) - -/DFLN { - gsave - GDAR ceiling setlinewidth - CP moveto - lineto - stroke - grestore -} def - -end - - -%%EndProcSet -%%BeginProcSet: texps.pro -%! 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All Rights Reserved. -11 dict begin -/FontInfo 7 dict dup begin -/version (1.0) readonly def -/Notice (Copyright (C) 1997 American Mathematical Society. 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This is a heavy magic! If you want something more understandable, -% you will have to write it yourself (if it is possible in a stack-oriented -% language that PostScript is). There are some constants you can -% change and see what happens, but I think the slurs should be almost -% always satisfiable. When not, let me know at: -% standa@hiero.cz -% Also any bug reports and comments are welcomed. -% -% Stanislav Kneifl. - -/slur@Dict 200 dict def - -% this dictionary is for \setslurtext, overriding some dvips's definitions -/temp@xx@dict 4 dict def temp@xx@dict begin - /a { moveto ax1 ay1 rmoveto } def - /V {gsave newpath transform round exch round exch itransform - exch ax1 add exch ay1 add moveto rulex 0 rlineto 0 ruley neg - rlineto rulex neg 0 rlineto fill grestore} def -end - -TeXDict begin -% get dimen from TeX's string ("125pt" -> 125 PS points) -/GD { dup length 2 sub 0 exch getinterval cvr 1.045 mul} def -% get dimen adjusted to Resolution -/GDAR { dup length 2 sub 0 exch getinterval cvr 4 AR mul 1.045 mul} def -% Adjust to Resolution -/AR { Resolution mul 300 div } def -% the distances in dvips's PostScript are resolution dependant! -end - -slur@Dict begin -/CP /currentpoint load def -/ED { exch def } bind def -/AR { Resolution mul 300 div } def % stands for Adjust to Resolution, -/VS { dup /ay1 exch ay1 exch linew mul 4 mul add def /ay2 exch ay2 exch linew mul 4 mul add def } def -/y { 3 2 roll ax1 ay1 rmoveto show moveto } def -/M { mul } def -/A { add } def -/SB { sub } def -/P { pop } def -/DP { dup } def -/R { roll } def - -/drawseg { 0 0 moveto - ax1 ay1 - ax1 0.6 mul ax2 0.4 mul add ay1 0.6 mul ay2 0.4 mul add - ax1 ax2 add 2 div ay1 ay2 add 2 div curveto - ax1 0.4 mul ax2 0.6 mul add ay1 0.4 mul ay2 0.6 mul add - ax2 ay2 - x2 0 curveto } def - -/DS { - AR /maxe ED - /ifadjust ED - /ifdash ED - AR /m ED % max height of the slur - /e ED % "angularity" of the slur; 0.1 = very angular, - % 0.3 = very round - /aa exch neg def % what to multiply the height with - % AFTER the max height checking - /y2 ED % y coordinate of the end of the slur - /x2 ED % x coordinate of the end of the slur - /y1 ED % y coordinate of the beginning of the slur - /x1 ED % x coordinate of the beginning of the slur - /yr2 ED - /yr1 ED - /internote ED - /x2 x2 x1 sub def % x2=x2-x1 - /y2 y2 y1 sub def % y2=y2-y1 - /sx y2 x2 div def - /b x2 300 mul Resolution div abs sqrt AR 2 mul def % b=2*sqrt(x2) - b 3 AR lt {/b 3 AR def} if % b=max(b,3) - b m gt {/b m def} if % b=min(b,m) - /aa b aa mul def % aa=aa*b - /s 90 x2 y2 atan sub def % s=90-arctan(x2,y2) slope of the slur - /aa aa s cos div def % aa=aa/cos(s) height of the slur - /x2 s neg cos x2 mul s neg sin y2 mul sub def % x2 = x2*cos(-s) - y2*sin(-s) - % is the length of the slur - e x2 mul maxe gt { /e maxe x2 div def } if - /beta e x2 mul aa neg atan def - beta 90 gt {/beta 180 beta sub def} if - /ax1 e x2 mul def % control points - /ay1 aa def - /ax2 1 e sub x2 mul def - /ay2 aa def - -% check if the starting and endin vector stay in desired quadrants -% => beta < abs(s) - beta s abs lt { - /b aa abs s abs 2 add sin mul s abs 2 add cos div def - s aa mul 0 lt { - s cos 0.75 lt { /ax1 ax1 b 1 s cos sub mul 0.5 mul sub def /ay1 ay1 s cos mul 0.8 mul def } if -% ^^^^ ^^^ ^^^ -% (values to play with) - /ax2 x2 b sub def - } - { - /ax1 b def - s cos 0.75 lt { /ax2 b 1 s cos sub mul 0.5 mul ax2 add def /ay2 ay2 s cos mul 0.8 mul def } if -% ^^^^ ^^^ ^^^ - } ifelse - } if - -% align the slur to the staff lines - - gsave - x1 y1 translate - s rotate -% [1 0 sx 1 0 0] concat - drawseg - gsave - initmatrix - flattenpath - pathbbox - exch pop - sub - /slh ED % in slh we have the height of the whole slur - pop - grestore - - /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def - /slh yr slh internote div aa 0 gt { add } { sub } ifelse 2 div def -% check if the slur gets too close to staff line - /shift 0 def - slh 4.45 lt slh -0.5 gt and { - /slh slh dup truncate sub def - slh 0 lt { /slh 1 slh add def } if - aa 0 gt { /slh 1 slh sub def } if - - % slh now contains the position ot the slur top/bottom in the space - % between the nearest staff lines (from <0,1>), regardless direction - - % slur is too low: - slh 0.45 lt { /shift 0.45 slh sub def } if - % slur is too high, but we can be shift it down: - slh 0.7 gt slh 0.85 lt and { /shift 0.7 slh sub def } if - % slur is too high, must be shifted up: - slh 0.85 ge { /shift 1.45 slh sub def } if - } if - - aa 0 gt { /shift shift neg def } if - - ifadjust 0 eq { - /shift 0 def - } if - - -% and finally draw it... - - grestore - gsave - /linew internote 0.06 mul AR def - linew 4 mul setlinewidth - 1 setlinecap - 0 setlinejoin - ifdash 1 eq - { [internote 8 mul AR internote 5 mul AR] 0 setdash } if - x1 y1 shift neg 2 mul internote mul 4 AR mul add translate - s rotate -% [1 sx 0 1 0 0] concat - -% uncomment this to see the control points -% 5 AR setlinewidth ax1 ay1 moveto 0.1 0 rlineto stroke -% ax2 ay2 moveto 0.1 0 rlineto stroke linew setlinewidth - - drawseg - 1 VS - drawseg - -2 VS - drawseg - x2 20 AR gt { - 3 VS - drawseg - } if - x2 50 AR gt { - -4 VS - drawseg - } if - x2 80 AR gt { - 5 VS - drawseg - } if - stroke - - grestore - - % now some \slurtext code... - - /x1 ax1 ax2 add 2 div def % middle of the slur - /y1 ay1 ay2 add 2 div def - x1 s cos mul y1 s sin mul add neg - y1 s cos mul x1 s sin mul sub - aa 0 lt {1} {0} ifelse - end - - % this is a hack to place the slurtext in the middle of the slur. - % From unknown reasons simple 'ax1 ay1 translate' did not work, - % so we have to overlay some definitions with our own, namely - % 'a', which is originally 'moveto' and 'V' for drawing rules. - % maybe there are some other operations that should be redefined, - % but for almost all cases this will be sufficient. If you find - % anything that won't be typeset at the correct position, let me know... - - temp@xx@dict begin - /dir exch def - /ay1 exch def - /ax1 exch def -} def - -% crescendos -/DC { - /y2 ED - /x2 ED - /y1 ED - /x1 ED - gsave - 1 AR ceiling setlinewidth % line thickness: this results - 1 setlinecap % to exactly 2 pixels in 300 dpi - 1 setlinejoin - x2 y2 10 AR add moveto % the 10's specify wideness of the - x1 y1 lineto % open end of the crescendo, - x2 y2 10 AR sub lineto % similarly the 11's below - stroke - grestore -} def - -% half crescendos -/DHC { - /y2 ED - /x2 ED - /y1 ED - /x1 ED - gsave - 1 AR ceiling setlinewidth - 1 setlinecap - 1 setlinejoin - x2 y2 11 AR add moveto - x1 y1 4 AR add lineto stroke - x1 y1 4 AR sub moveto - x2 y2 11 AR sub lineto - stroke - grestore -} def - -% differenced line - -/DLN { - gsave - GDAR ceiling setlinewidth - GDAR exch GDAR neg rlineto - stroke - grestore -} def - -% sloped line - -/DSLN { - gsave - GDAR ceiling setlinewidth - GDAR exch 1.125 mul neg rotate 0 rlineto - stroke - grestore -} def - -% free line (init & terminate) - -/DFLN { - gsave - GDAR ceiling setlinewidth - CP moveto - lineto - stroke - grestore -} def - -end - - -%%EndProcSet -%%BeginProcSet: texps.pro -%! -TeXDict begin/rf{findfont dup length 1 add dict begin{1 index/FID ne 2 -index/UniqueID ne and{def}{pop pop}ifelse}forall[1 index 0 6 -1 roll -exec 0 exch 5 -1 roll VResolution Resolution div mul neg 0 0]/Metrics -exch def dict begin Encoding{exch dup type/integertype ne{pop pop 1 sub -dup 0 le{pop}{[}ifelse}{FontMatrix 0 get div Metrics 0 get div def} -ifelse}forall Metrics/Metrics currentdict end def[2 index currentdict -end definefont 3 -1 roll makefont/setfont cvx]cvx def}def/ObliqueSlant{ -dup sin S cos div neg}B/SlantFont{4 index mul add}def/ExtendFont{3 -1 -roll mul exch}def/ReEncodeFont{CharStrings rcheck{/Encoding false def -dup[exch{dup CharStrings exch known not{pop/.notdef/Encoding true def} -if}forall Encoding{]exch pop}{cleartomark}ifelse}if/Encoding exch def} -def end - -%%EndProcSet -%%BeginProcSet: special.pro -%! -TeXDict begin/SDict 200 dict N SDict begin/@SpecialDefaults{/hs 612 N -/vs 792 N/ho 0 N/vo 0 N/hsc 1 N/vsc 1 N/ang 0 N/CLIP 0 N/rwiSeen false N -/rhiSeen false N/letter{}N/note{}N/a4{}N/legal{}N}B/@scaleunit 100 N -/@hscale{@scaleunit div/hsc X}B/@vscale{@scaleunit div/vsc X}B/@hsize{ -/hs X/CLIP 1 N}B/@vsize{/vs X/CLIP 1 N}B/@clip{/CLIP 2 N}B/@hoffset{/ho -X}B/@voffset{/vo X}B/@angle{/ang X}B/@rwi{10 div/rwi X/rwiSeen true N}B -/@rhi{10 div/rhi X/rhiSeen true N}B/@llx{/llx X}B/@lly{/lly X}B/@urx{ -/urx X}B/@ury{/ury X}B/magscale true def end/@MacSetUp{userdict/md known -{userdict/md get type/dicttype eq{userdict begin md length 10 add md -maxlength ge{/md md dup length 20 add dict copy def}if end md begin -/letter{}N/note{}N/legal{}N/od{txpose 1 0 mtx defaultmatrix dtransform S -atan/pa X newpath clippath mark{transform{itransform moveto}}{transform{ -itransform lineto}}{6 -2 roll transform 6 -2 roll transform 6 -2 roll -transform{itransform 6 2 roll itransform 6 2 roll itransform 6 2 roll -curveto}}{{closepath}}pathforall newpath counttomark array astore/gc xdf -pop ct 39 0 put 10 fz 0 fs 2 F/|______Courier fnt invertflag{PaintBlack} -if}N/txpose{pxs pys scale ppr aload pop por{noflips{pop S neg S TR pop 1 --1 scale}if xflip yflip and{pop S neg S TR 180 rotate 1 -1 scale ppr 3 -get ppr 1 get neg sub neg ppr 2 get ppr 0 get neg sub neg TR}if xflip -yflip not and{pop S neg S TR pop 180 rotate ppr 3 get ppr 1 get neg sub -neg 0 TR}if yflip xflip not and{ppr 1 get neg ppr 0 get neg TR}if}{ -noflips{TR pop pop 270 rotate 1 -1 scale}if xflip yflip and{TR pop pop -90 rotate 1 -1 scale ppr 3 get ppr 1 get neg sub neg ppr 2 get ppr 0 get -neg sub neg TR}if xflip yflip not and{TR pop pop 90 rotate ppr 3 get ppr -1 get neg sub neg 0 TR}if yflip xflip not and{TR pop pop 270 rotate ppr -2 get ppr 0 get neg sub neg 0 S TR}if}ifelse scaleby96{ppr aload pop 4 --1 roll add 2 div 3 1 roll add 2 div 2 copy TR .96 dup scale neg S neg S -TR}if}N/cp{pop pop showpage pm restore}N end}if}if}N/normalscale{ -Resolution 72 div VResolution 72 div neg scale magscale{DVImag dup scale -}if 0 setgray}N/psfts{S 65781.76 div N}N/startTexFig{/psf$SavedState -save N userdict maxlength dict begin/magscale true def normalscale -currentpoint TR/psf$ury psfts/psf$urx psfts/psf$lly psfts/psf$llx psfts -/psf$y psfts/psf$x psfts currentpoint/psf$cy X/psf$cx X/psf$sx psf$x -psf$urx psf$llx sub div N/psf$sy psf$y psf$ury psf$lly sub div N psf$sx -psf$sy scale psf$cx psf$sx div psf$llx sub psf$cy psf$sy div psf$ury sub -TR/showpage{}N/erasepage{}N/copypage{}N/p 3 def @MacSetUp}N/doclip{ -psf$llx psf$lly psf$urx psf$ury currentpoint 6 2 roll newpath 4 copy 4 2 -roll moveto 6 -1 roll S lineto S lineto S lineto closepath clip newpath -moveto}N/endTexFig{end psf$SavedState restore}N/@beginspecial{SDict -begin/SpecialSave save N gsave normalscale currentpoint TR -@SpecialDefaults count/ocount X/dcount countdictstack N}N/@setspecial{ -CLIP 1 eq{newpath 0 0 moveto hs 0 rlineto 0 vs rlineto hs neg 0 rlineto -closepath clip}if ho vo TR hsc vsc scale ang rotate rwiSeen{rwi urx llx -sub div rhiSeen{rhi ury lly sub div}{dup}ifelse scale llx neg lly neg TR -}{rhiSeen{rhi ury lly sub div dup scale llx neg lly neg TR}if}ifelse -CLIP 2 eq{newpath llx lly moveto urx lly lineto urx ury lineto llx ury -lineto closepath clip}if/showpage{}N/erasepage{}N/copypage{}N newpath}N -/@endspecial{count ocount sub{pop}repeat countdictstack dcount sub{end} -repeat grestore SpecialSave restore end}N/@defspecial{SDict begin}N -/@fedspecial{end}B/li{lineto}B/rl{rlineto}B/rc{rcurveto}B/np{/SaveX -currentpoint/SaveY X N 1 setlinecap newpath}N/st{stroke SaveX SaveY -moveto}N/fil{fill SaveX SaveY moveto}N/ellipse{/endangle X/startangle X -/yrad X/xrad X/savematrix matrix currentmatrix N TR xrad yrad scale 0 0 -1 startangle endangle arc savematrix setmatrix}N end - -%%EndProcSet -%%BeginFont: CMTT10 -%!PS-AdobeFont-1.1: CMTT10 1.00B -%%CreationDate: 1992 Apr 26 10:42:42 -% Copyright (C) 1997 American Mathematical Society. All Rights Reserved. -11 dict begin -/FontInfo 7 dict dup begin -/version (1.00B) readonly def -/Notice (Copyright (C) 1997 American Mathematical Society. All Rights Reserved) readonly def -/FullName (CMTT10) readonly def -/FamilyName (Computer Modern) readonly def -/Weight (Medium) readonly def -/ItalicAngle 0 def -/isFixedPitch true def -end readonly def -/FontName /CMTT10 def -/PaintType 0 def -/FontType 1 def -/FontMatrix [0.001 0 0 0.001 0 0] readonly def -/Encoding 256 array -0 1 255 {1 index exch /.notdef put} for -dup 43 /plus put -dup 45 /hyphen put -dup 48 /zero put -dup 50 /two put -dup 56 /eight put -dup 97 /a put -dup 98 /b put -dup 99 /c put -dup 100 /d put -dup 101 /e put -dup 103 /g put -readonly def -/FontBBox{-4 -235 731 800}readonly def -/UniqueID 5000832 def -currentdict end -currentfile eexec -D9D66F633B846A97B686A97E45A3D0AA052A014267B7904EB3C0D3BD0B83D891 -016CA6CA4B712ADEB258FAAB9A130EE605E61F77FC1B738ABC7C51CD46EF8171 -9098D5FEE67660E69A7AB91B58F29A4D79E57022F783EB0FBBB6D4F4EC35014F -D2DECBA99459A4C59DF0C6EBA150284454E707DC2100C15B76B4C19B84363758 -469A6C558785B226332152109871A9883487DD7710949204DDCF837E6A8708B8 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This is a heavy magic! If you want something more understandable, -% you will have to write it yourself (if it is possible in a stack-oriented -% language that PostScript is). There are some constants you can -% change and see what happens, but I think the slurs should be almost -% always satisfiable. When not, let me know at: -% standa@hiero.cz -% Also any bug reports and comments are welcomed. -% -% Stanislav Kneifl. - -/slur@Dict 200 dict def - -% this dictionary is for \setslurtext, overriding some dvips's definitions -/temp@xx@dict 4 dict def temp@xx@dict begin - /a { moveto ax1 ay1 rmoveto } def - /V {gsave newpath transform round exch round exch itransform - exch ax1 add exch ay1 add moveto rulex 0 rlineto 0 ruley neg - rlineto rulex neg 0 rlineto fill grestore} def -end - -TeXDict begin -% get dimen from TeX's string ("125pt" -> 125 PS points) -/GD { dup length 2 sub 0 exch getinterval cvr 1.045 mul} def -% get dimen adjusted to Resolution -/GDAR { dup length 2 sub 0 exch getinterval cvr 4 AR mul 1.045 mul} def -% Adjust to Resolution -/AR { Resolution mul 300 div } def -% the distances in dvips's PostScript are resolution dependant! -end - -slur@Dict begin -/CP /currentpoint load def -/ED { exch def } bind def -/AR { Resolution mul 300 div } def % stands for Adjust to Resolution, -/VS { dup /ay1 exch ay1 exch linew mul 4 mul add def /ay2 exch ay2 exch linew mul 4 mul add def } def -/y { 3 2 roll ax1 ay1 rmoveto show moveto } def -/M { mul } def -/A { add } def -/SB { sub } def -/P { pop } def -/DP { dup } def -/R { roll } def - -/drawseg { 0 0 moveto - ax1 ay1 - ax1 0.6 mul ax2 0.4 mul add ay1 0.6 mul ay2 0.4 mul add - ax1 ax2 add 2 div ay1 ay2 add 2 div curveto - ax1 0.4 mul ax2 0.6 mul add ay1 0.4 mul ay2 0.6 mul add - ax2 ay2 - x2 0 curveto } def - -/DS { - AR /maxe ED - /ifadjust ED - /ifdash ED - AR /m ED % max height of the slur - /e ED % "angularity" of the slur; 0.1 = very angular, - % 0.3 = very round - /aa exch neg def % what to multiply the height with - % AFTER the max height checking - /y2 ED % y coordinate of the end of the slur - /x2 ED % x coordinate of the end of the slur - /y1 ED % y coordinate of the beginning of the slur - /x1 ED % x coordinate of the beginning of the slur - /yr2 ED - /yr1 ED - /internote ED - /x2 x2 x1 sub def % x2=x2-x1 - /y2 y2 y1 sub def % y2=y2-y1 - /sx y2 x2 div def - /b x2 300 mul Resolution div abs sqrt AR 2 mul def % b=2*sqrt(x2) - b 3 AR lt {/b 3 AR def} if % b=max(b,3) - b m gt {/b m def} if % b=min(b,m) - /aa b aa mul def % aa=aa*b - /s 90 x2 y2 atan sub def % s=90-arctan(x2,y2) slope of the slur - /aa aa s cos div def % aa=aa/cos(s) height of the slur - /x2 s neg cos x2 mul s neg sin y2 mul sub def % x2 = x2*cos(-s) - y2*sin(-s) - % is the length of the slur - e x2 mul maxe gt { /e maxe x2 div def } if - /beta e x2 mul aa neg atan def - beta 90 gt {/beta 180 beta sub def} if - /ax1 e x2 mul def % control points - /ay1 aa def - /ax2 1 e sub x2 mul def - /ay2 aa def - -% check if the starting and endin vector stay in desired quadrants -% => beta < abs(s) - beta s abs lt { - /b aa abs s abs 2 add sin mul s abs 2 add cos div def - s aa mul 0 lt { - s cos 0.75 lt { /ax1 ax1 b 1 s cos sub mul 0.5 mul sub def /ay1 ay1 s cos mul 0.8 mul def } if -% ^^^^ ^^^ ^^^ -% (values to play with) - /ax2 x2 b sub def - } - { - /ax1 b def - s cos 0.75 lt { /ax2 b 1 s cos sub mul 0.5 mul ax2 add def /ay2 ay2 s cos mul 0.8 mul def } if -% ^^^^ ^^^ ^^^ - } ifelse - } if - -% align the slur to the staff lines - - gsave - x1 y1 translate - s rotate -% [1 0 sx 1 0 0] concat - drawseg - gsave - initmatrix - flattenpath - pathbbox - exch pop - sub - /slh ED % in slh we have the height of the whole slur - pop - grestore - - /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def - /slh yr slh internote div aa 0 gt { add } { sub } ifelse 2 div def -% check if the slur gets too close to staff line - /shift 0 def - slh 4.45 lt slh -0.5 gt and { - /slh slh dup truncate sub def - slh 0 lt { /slh 1 slh add def } if - aa 0 gt { /slh 1 slh sub def } if - - % slh now contains the position ot the slur top/bottom in the space - % between the nearest staff lines (from <0,1>), regardless direction - - % slur is too low: - slh 0.45 lt { /shift 0.45 slh sub def } if - % slur is too high, but we can be shift it down: - slh 0.7 gt slh 0.85 lt and { /shift 0.7 slh sub def } if - % slur is too high, must be shifted up: - slh 0.85 ge { /shift 1.45 slh sub def } if - } if - - aa 0 gt { /shift shift neg def } if - - ifadjust 0 eq { - /shift 0 def - } if - - -% and finally draw it... - - grestore - gsave - /linew internote 0.06 mul AR def - linew 4 mul setlinewidth - 1 setlinecap - 0 setlinejoin - ifdash 1 eq - { [internote 8 mul AR internote 5 mul AR] 0 setdash } if - x1 y1 shift neg 2 mul internote mul 4 AR mul add translate - s rotate -% [1 sx 0 1 0 0] concat - -% uncomment this to see the control points -% 5 AR setlinewidth ax1 ay1 moveto 0.1 0 rlineto stroke -% ax2 ay2 moveto 0.1 0 rlineto stroke linew setlinewidth - - drawseg - 1 VS - drawseg - -2 VS - drawseg - x2 20 AR gt { - 3 VS - drawseg - } if - x2 50 AR gt { - -4 VS - drawseg - } if - x2 80 AR gt { - 5 VS - drawseg - } if - stroke - - grestore - - % now some \slurtext code... - - /x1 ax1 ax2 add 2 div def % middle of the slur - /y1 ay1 ay2 add 2 div def - x1 s cos mul y1 s sin mul add neg - y1 s cos mul x1 s sin mul sub - aa 0 lt {1} {0} ifelse - end - - % this is a hack to place the slurtext in the middle of the slur. - % From unknown reasons simple 'ax1 ay1 translate' did not work, - % so we have to overlay some definitions with our own, namely - % 'a', which is originally 'moveto' and 'V' for drawing rules. - % maybe there are some other operations that should be redefined, - % but for almost all cases this will be sufficient. If you find - % anything that won't be typeset at the correct position, let me know... - - temp@xx@dict begin - /dir exch def - /ay1 exch def - /ax1 exch def -} def - -% crescendos -/DC { - /y2 ED - /x2 ED - /y1 ED - /x1 ED - gsave - 1 AR ceiling setlinewidth % line thickness: this results - 1 setlinecap % to exactly 2 pixels in 300 dpi - 1 setlinejoin - x2 y2 10 AR add moveto % the 10's specify wideness of the - x1 y1 lineto % open end of the crescendo, - x2 y2 10 AR sub lineto % similarly the 11's below - stroke - grestore -} def - -% half crescendos -/DHC { - /y2 ED - /x2 ED - /y1 ED - /x1 ED - gsave - 1 AR ceiling setlinewidth - 1 setlinecap - 1 setlinejoin - x2 y2 11 AR add moveto - x1 y1 4 AR add lineto stroke - x1 y1 4 AR sub moveto - x2 y2 11 AR sub lineto - stroke - grestore -} def - -% differenced line - -/DLN { - gsave - GDAR ceiling setlinewidth - GDAR exch GDAR neg rlineto - stroke - grestore -} def - -% sloped line - -/DSLN { - gsave - GDAR ceiling setlinewidth - GDAR exch 1.125 mul neg rotate 0 rlineto - stroke - grestore -} def - -% free line (init & terminate) - -/DFLN { - gsave - GDAR ceiling setlinewidth - CP moveto - lineto - stroke - grestore -} def - -end - - -%%EndProcSet -%%BeginProcSet: texps.pro -%! 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This is a heavy magic! If you want something more understandable, -% you will have to write it yourself (if it is possible in a stack-oriented -% language that PostScript is). There are some constants you can -% change and see what happens, but I think the slurs should be almost -% always satisfiable. When not, let me know at: -% standa@hiero.cz -% Also any bug reports and comments are welcomed. -% -% Stanislav Kneifl. - -/slur@Dict 200 dict def - -% this dictionary is for \setslurtext, overriding some dvips's definitions -/temp@xx@dict 4 dict def temp@xx@dict begin - /a { moveto ax1 ay1 rmoveto } def - /V {gsave newpath transform round exch round exch itransform - exch ax1 add exch ay1 add moveto rulex 0 rlineto 0 ruley neg - rlineto rulex neg 0 rlineto fill grestore} def -end - -TeXDict begin -% get dimen from TeX's string ("125pt" -> 125 PS points) -/GD { dup length 2 sub 0 exch getinterval cvr 1.045 mul} def -% get dimen adjusted to Resolution -/GDAR { dup length 2 sub 0 exch getinterval cvr 4 AR mul 1.045 mul} def -% Adjust to Resolution -/AR { Resolution mul 300 div } def -% the distances in dvips's PostScript are resolution dependant! -end - -slur@Dict begin -/CP /currentpoint load def -/ED { exch def } bind def -/AR { Resolution mul 300 div } def % stands for Adjust to Resolution, -/VS { dup /ay1 exch ay1 exch linew mul 4 mul add def /ay2 exch ay2 exch linew mul 4 mul add def } def -/y { 3 2 roll ax1 ay1 rmoveto show moveto } def -/M { mul } def -/A { add } def -/SB { sub } def -/P { pop } def -/DP { dup } def -/R { roll } def - -/drawseg { 0 0 moveto - ax1 ay1 - ax1 0.6 mul ax2 0.4 mul add ay1 0.6 mul ay2 0.4 mul add - ax1 ax2 add 2 div ay1 ay2 add 2 div curveto - ax1 0.4 mul ax2 0.6 mul add ay1 0.4 mul ay2 0.6 mul add - ax2 ay2 - x2 0 curveto } def - -/DS { - AR /maxe ED - /ifadjust ED - /ifdash ED - AR /m ED % max height of the slur - /e ED % "angularity" of the slur; 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-%%EndProcSet -%%BeginProcSet: psslurs.pro 0 0 -% This file can be used instead of psslurs.pro, it is only commented -% and indented. -% -% VERSION: 1.0 -% -% WARNING! This is a heavy magic! If you want something more understandable, -% you will have to write it yourself (if it is possible in a stack-oriented -% language that PostScript is). There are some constants you can -% change and see what happens, but I think the slurs should be almost -% always satisfiable. When not, let me know at: -% standa@hiero.cz -% Also any bug reports and comments are welcomed. -% -% Stanislav Kneifl. - -/slur@Dict 200 dict def - -% this dictionary is for \setslurtext, overriding some dvips's definitions -/temp@xx@dict 4 dict def temp@xx@dict begin - /a { moveto ax1 ay1 rmoveto } def - /V {gsave newpath transform round exch round exch itransform - exch ax1 add exch ay1 add moveto rulex 0 rlineto 0 ruley neg - rlineto rulex neg 0 rlineto fill grestore} def -end - -TeXDict begin -% get dimen from TeX's string ("125pt" -> 125 PS points) -/GD { dup length 2 sub 0 exch getinterval cvr 1.045 mul} def -% get dimen adjusted to Resolution -/GDAR { dup length 2 sub 0 exch getinterval cvr 4 AR mul 1.045 mul} def -% Adjust to Resolution -/AR { Resolution mul 300 div } def -% the distances in dvips's PostScript are resolution dependant! -end - -slur@Dict begin -/CP /currentpoint load def -/ED { exch def } bind def -/AR { Resolution mul 300 div } def % stands for Adjust to Resolution, -/VS { dup /ay1 exch ay1 exch linew mul 4 mul add def /ay2 exch ay2 exch linew mul 4 mul add def } def -/y { 3 2 roll ax1 ay1 rmoveto show moveto } def -/M { mul } def -/A { add } def -/SB { sub } def -/P { pop } def -/DP { dup } def -/R { roll } def - -/drawseg { 0 0 moveto - ax1 ay1 - ax1 0.6 mul ax2 0.4 mul add ay1 0.6 mul ay2 0.4 mul add - ax1 ax2 add 2 div ay1 ay2 add 2 div curveto - ax1 0.4 mul ax2 0.6 mul add ay1 0.4 mul ay2 0.6 mul add - ax2 ay2 - x2 0 curveto } def - -/DS { - AR /maxe ED - /ifadjust ED - /ifdash ED - AR /m ED % max height of the slur - /e ED % "angularity" of the slur; 0.1 = very angular, - % 0.3 = very round - /aa exch neg def % what to multiply the height with - % AFTER the max height checking - /y2 ED % y coordinate of the end of the slur - /x2 ED % x coordinate of the end of the slur - /y1 ED % y coordinate of the beginning of the slur - /x1 ED % x coordinate of the beginning of the slur - /yr2 ED - /yr1 ED - /internote ED - /x2 x2 x1 sub def % x2=x2-x1 - /y2 y2 y1 sub def % y2=y2-y1 - /sx y2 x2 div def - /b x2 300 mul Resolution div abs sqrt AR 2 mul def % b=2*sqrt(x2) - b 3 AR lt {/b 3 AR def} if % b=max(b,3) - b m gt {/b m def} if % b=min(b,m) - /aa b aa mul def % aa=aa*b - /s 90 x2 y2 atan sub def % s=90-arctan(x2,y2) slope of the slur - /aa aa s cos div def % aa=aa/cos(s) height of the slur - /x2 s neg cos x2 mul s neg sin y2 mul sub def % x2 = x2*cos(-s) - y2*sin(-s) - % is the length of the slur - e x2 mul maxe gt { /e maxe x2 div def } if - /beta e x2 mul aa neg atan def - beta 90 gt {/beta 180 beta sub def} if - /ax1 e x2 mul def % control points - /ay1 aa def - /ax2 1 e sub x2 mul def - /ay2 aa def - -% check if the starting and endin vector stay in desired quadrants -% => beta < abs(s) - beta s abs lt { - /b aa abs s abs 2 add sin mul s abs 2 add cos div def - s aa mul 0 lt { - s cos 0.75 lt { /ax1 ax1 b 1 s cos sub mul 0.5 mul sub def /ay1 ay1 s cos mul 0.8 mul def } if -% ^^^^ ^^^ ^^^ -% (values to play with) - /ax2 x2 b sub def - } - { - /ax1 b def - s cos 0.75 lt { /ax2 b 1 s cos sub mul 0.5 mul ax2 add def /ay2 ay2 s cos mul 0.8 mul def } if -% ^^^^ ^^^ ^^^ - } ifelse - } if - -% align the slur to the staff lines - - gsave - x1 y1 translate - s rotate -% [1 0 sx 1 0 0] concat - drawseg - gsave - initmatrix - flattenpath - pathbbox - exch pop - sub - /slh ED % in slh we have the height of the whole slur - pop - grestore - - /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def - /slh yr slh internote div aa 0 gt { add } { sub } ifelse 2 div def -% check if the slur gets too close to staff line - /shift 0 def - slh 4.45 lt slh -0.5 gt and { - /slh slh dup truncate sub def - slh 0 lt { /slh 1 slh add def } if - aa 0 gt { /slh 1 slh sub def } if - - % slh now contains the position ot the slur top/bottom in the space - % between the nearest staff lines (from <0,1>), regardless direction - - % slur is too low: - slh 0.45 lt { /shift 0.45 slh sub def } if - % slur is too high, but we can be shift it down: - slh 0.7 gt slh 0.85 lt and { /shift 0.7 slh sub def } if - % slur is too high, must be shifted up: - slh 0.85 ge { /shift 1.45 slh sub def } if - } if - - aa 0 gt { /shift shift neg def } if - - ifadjust 0 eq { - /shift 0 def - } if - - -% and finally draw it... - - grestore - gsave - /linew internote 0.06 mul AR def - linew 4 mul setlinewidth - 1 setlinecap - 0 setlinejoin - ifdash 1 eq - { [internote 8 mul AR internote 5 mul AR] 0 setdash } if - x1 y1 shift neg 2 mul internote mul 4 AR mul add translate - s rotate -% [1 sx 0 1 0 0] concat - -% uncomment this to see the control points -% 5 AR setlinewidth ax1 ay1 moveto 0.1 0 rlineto stroke -% ax2 ay2 moveto 0.1 0 rlineto stroke linew setlinewidth - - drawseg - 1 VS - drawseg - -2 VS - drawseg - x2 20 AR gt { - 3 VS - drawseg - } if - x2 50 AR gt { - -4 VS - drawseg - } if - x2 80 AR gt { - 5 VS - drawseg - } if - stroke - - grestore - - % now some \slurtext code... - - /x1 ax1 ax2 add 2 div def % middle of the slur - /y1 ay1 ay2 add 2 div def - x1 s cos mul y1 s sin mul add neg - y1 s cos mul x1 s sin mul sub - aa 0 lt {1} {0} ifelse - end - - % this is a hack to place the slurtext in the middle of the slur. - % From unknown reasons simple 'ax1 ay1 translate' did not work, - % so we have to overlay some definitions with our own, namely - % 'a', which is originally 'moveto' and 'V' for drawing rules. - % maybe there are some other operations that should be redefined, - % but for almost all cases this will be sufficient. 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This is a heavy magic! If you want something more understandable, -% you will have to write it yourself (if it is possible in a stack-oriented -% language that PostScript is). There are some constants you can -% change and see what happens, but I think the slurs should be almost -% always satisfiable. When not, let me know at: -% standa@hiero.cz -% Also any bug reports and comments are welcomed. -% -% Stanislav Kneifl. - -/slur@Dict 200 dict def - -% this dictionary is for \setslurtext, overriding some dvips's definitions -/temp@xx@dict 4 dict def temp@xx@dict begin - /a { moveto ax1 ay1 rmoveto } def - /V {gsave newpath transform round exch round exch itransform - exch ax1 add exch ay1 add moveto rulex 0 rlineto 0 ruley neg - rlineto rulex neg 0 rlineto fill grestore} def -end - -TeXDict begin -% get dimen from TeX's string ("125pt" -> 125 PS points) -/GD { dup length 2 sub 0 exch getinterval cvr 1.045 mul} def -% get dimen adjusted to Resolution -/GDAR { dup length 2 sub 0 exch getinterval cvr 4 AR mul 1.045 mul} def -% Adjust to Resolution -/AR { Resolution mul 300 div } def -% the distances in dvips's PostScript are resolution dependant! -end - -slur@Dict begin -/CP /currentpoint load def -/ED { exch def } bind def -/AR { Resolution mul 300 div } def % stands for Adjust to Resolution, -/VS { dup /ay1 exch ay1 exch linew mul 4 mul add def /ay2 exch ay2 exch linew mul 4 mul add def } def -/y { 3 2 roll ax1 ay1 rmoveto show moveto } def -/M { mul } def -/A { add } def -/SB { sub } def -/P { pop } def -/DP { dup } def -/R { roll } def - -/drawseg { 0 0 moveto - ax1 ay1 - ax1 0.6 mul ax2 0.4 mul add ay1 0.6 mul ay2 0.4 mul add - ax1 ax2 add 2 div ay1 ay2 add 2 div curveto - ax1 0.4 mul ax2 0.6 mul add ay1 0.4 mul ay2 0.6 mul add - ax2 ay2 - x2 0 curveto } def - -/DS { - AR /maxe ED - /ifadjust ED - /ifdash ED - AR /m ED % max height of the slur - /e ED % "angularity" of the slur; 0.1 = very angular, - % 0.3 = very round - /aa exch neg def % what to multiply the height with - % AFTER the max height checking - /y2 ED % y coordinate of the end of the slur - /x2 ED % x coordinate of the end of the slur - /y1 ED % y coordinate of the beginning of the slur - /x1 ED % x coordinate of the beginning of the slur - /yr2 ED - /yr1 ED - /internote ED - /x2 x2 x1 sub def % x2=x2-x1 - /y2 y2 y1 sub def % y2=y2-y1 - /sx y2 x2 div def - /b x2 300 mul Resolution div abs sqrt AR 2 mul def % b=2*sqrt(x2) - b 3 AR lt {/b 3 AR def} if % b=max(b,3) - b m gt {/b m def} if % b=min(b,m) - /aa b aa mul def % aa=aa*b - /s 90 x2 y2 atan sub def % s=90-arctan(x2,y2) slope of the slur - /aa aa s cos div def % aa=aa/cos(s) height of the slur - /x2 s neg cos x2 mul s neg sin y2 mul sub def % x2 = x2*cos(-s) - y2*sin(-s) - % is the length of the slur - e x2 mul maxe gt { /e maxe x2 div def } if - /beta e x2 mul aa neg atan def - beta 90 gt {/beta 180 beta sub def} if - /ax1 e x2 mul def % control points - /ay1 aa def - /ax2 1 e sub x2 mul def - /ay2 aa def - -% check if the starting and endin vector stay in desired quadrants -% => beta < abs(s) - beta s abs lt { - /b aa abs s abs 2 add sin mul s abs 2 add cos div def - s aa mul 0 lt { - s cos 0.75 lt { /ax1 ax1 b 1 s cos sub mul 0.5 mul sub def /ay1 ay1 s cos mul 0.8 mul def } if -% ^^^^ ^^^ ^^^ -% (values to play with) - /ax2 x2 b sub def - } - { - /ax1 b def - s cos 0.75 lt { /ax2 b 1 s cos sub mul 0.5 mul ax2 add def /ay2 ay2 s cos mul 0.8 mul def } if -% ^^^^ ^^^ ^^^ - } ifelse - } if - -% align the slur to the staff lines - - gsave - x1 y1 translate - s rotate -% [1 0 sx 1 0 0] concat - drawseg - gsave - initmatrix - flattenpath - pathbbox - exch pop - sub - /slh ED % in slh we have the height of the whole slur - pop - grestore - - /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def - /slh yr slh internote div aa 0 gt { add } { sub } ifelse 2 div def -% check if the slur gets too close to staff line - /shift 0 def - slh 4.45 lt slh -0.5 gt and { - /slh slh dup truncate sub def - slh 0 lt { /slh 1 slh add def } if - aa 0 gt { /slh 1 slh sub def } if - - % slh now contains the position ot the slur top/bottom in the space - % between the nearest staff lines (from <0,1>), regardless direction - - % slur is too low: - slh 0.45 lt { /shift 0.45 slh sub def } if - % slur is too high, but we can be shift it down: - slh 0.7 gt slh 0.85 lt and { /shift 0.7 slh sub def } if - % slur is too high, must be shifted up: - slh 0.85 ge { /shift 1.45 slh sub def } if - } if - - aa 0 gt { /shift shift neg def } if - - ifadjust 0 eq { - /shift 0 def - } if - - -% and finally draw it... - - grestore - gsave - /linew internote 0.06 mul AR def - linew 4 mul setlinewidth - 1 setlinecap - 0 setlinejoin - ifdash 1 eq - { [internote 8 mul AR internote 5 mul AR] 0 setdash } if - x1 y1 shift neg 2 mul internote mul 4 AR mul add translate - s rotate -% [1 sx 0 1 0 0] concat - -% uncomment this to see the control points -% 5 AR setlinewidth ax1 ay1 moveto 0.1 0 rlineto stroke -% ax2 ay2 moveto 0.1 0 rlineto stroke linew setlinewidth - - drawseg - 1 VS - drawseg - -2 VS - drawseg - x2 20 AR gt { - 3 VS - drawseg - } if - x2 50 AR gt { - -4 VS - drawseg - } if - x2 80 AR gt { - 5 VS - drawseg - } if - stroke - - grestore - - % now some \slurtext code... - - /x1 ax1 ax2 add 2 div def % middle of the slur - /y1 ay1 ay2 add 2 div def - x1 s cos mul y1 s sin mul add neg - y1 s cos mul x1 s sin mul sub - aa 0 lt {1} {0} ifelse - end - - % this is a hack to place the slurtext in the middle of the slur. - % From unknown reasons simple 'ax1 ay1 translate' did not work, - % so we have to overlay some definitions with our own, namely - % 'a', which is originally 'moveto' and 'V' for drawing rules. - % maybe there are some other operations that should be redefined, - % but for almost all cases this will be sufficient. If you find - % anything that won't be typeset at the correct position, let me know... - - temp@xx@dict begin - /dir exch def - /ay1 exch def - /ax1 exch def -} def - -% crescendos -/DC { - /y2 ED - /x2 ED - /y1 ED - /x1 ED - gsave - 1 AR ceiling setlinewidth % line thickness: this results - 1 setlinecap % to exactly 2 pixels in 300 dpi - 1 setlinejoin - x2 y2 10 AR add moveto % the 10's specify wideness of the - x1 y1 lineto % open end of the crescendo, - x2 y2 10 AR sub lineto % similarly the 11's below - stroke - grestore -} def - -% half crescendos -/DHC { - /y2 ED - /x2 ED - /y1 ED - /x1 ED - gsave - 1 AR ceiling setlinewidth - 1 setlinecap - 1 setlinejoin - x2 y2 11 AR add moveto - x1 y1 4 AR add lineto stroke - x1 y1 4 AR sub moveto - x2 y2 11 AR sub lineto - stroke - grestore -} def - -% differenced line - -/DLN { - gsave - GDAR ceiling setlinewidth - GDAR exch GDAR neg rlineto - stroke - grestore -} def - -% sloped line - -/DSLN { - gsave - GDAR ceiling setlinewidth - GDAR exch 1.125 mul neg rotate 0 rlineto - stroke - grestore -} def - -% free line (init & terminate) - -/DFLN { - gsave - GDAR ceiling setlinewidth - CP moveto - lineto - stroke - grestore -} def - -end - - -%%EndProcSet -%%BeginProcSet: texps.pro 0 0 -%! 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This is a heavy magic! If you want something more understandable, -% you will have to write it yourself (if it is possible in a stack-oriented -% language that PostScript is). There are some constants you can -% change and see what happens, but I think the slurs should be almost -% always satisfiable. When not, let me know at: -% standa@hiero.cz -% Also any bug reports and comments are welcomed. -% -% Stanislav Kneifl. - -/slur@Dict 200 dict def - -% this dictionary is for \setslurtext, overriding some dvips's definitions -/temp@xx@dict 4 dict def temp@xx@dict begin - /a { moveto ax1 ay1 rmoveto } def - /V {gsave newpath transform round exch round exch itransform - exch ax1 add exch ay1 add moveto rulex 0 rlineto 0 ruley neg - rlineto rulex neg 0 rlineto fill grestore} def -end - -TeXDict begin -% get dimen from TeX's string ("125pt" -> 125 PS points) -/GD { dup length 2 sub 0 exch getinterval cvr 1.045 mul} def -% get dimen adjusted to Resolution -/GDAR { dup length 2 sub 0 exch getinterval cvr 4 AR mul 1.045 mul} def -% Adjust to Resolution -/AR { Resolution mul 300 div } def -% the distances in dvips's PostScript are resolution dependant! -end - -slur@Dict begin -/CP /currentpoint load def -/ED { exch def } bind def -/AR { Resolution mul 300 div } def % stands for Adjust to Resolution, -/VS { dup /ay1 exch ay1 exch linew mul 4 mul add def /ay2 exch ay2 exch linew mul 4 mul add def } def -/y { 3 2 roll ax1 ay1 rmoveto show moveto } def -/M { mul } def -/A { add } def -/SB { sub } def -/P { pop } def -/DP { dup } def -/R { roll } def - -/drawseg { 0 0 moveto - ax1 ay1 - ax1 0.6 mul ax2 0.4 mul add ay1 0.6 mul ay2 0.4 mul add - ax1 ax2 add 2 div ay1 ay2 add 2 div curveto - ax1 0.4 mul ax2 0.6 mul add ay1 0.4 mul ay2 0.6 mul add - ax2 ay2 - x2 0 curveto } def - -/DS { - AR /maxe ED - /ifadjust ED - /ifdash ED - AR /m ED % max height of the slur - /e ED % "angularity" of the slur; 0.1 = very angular, - % 0.3 = very round - /aa exch neg def % what to multiply the height with - % AFTER the max height checking - /y2 ED % y coordinate of the end of the slur - /x2 ED % x coordinate of the end of the slur - /y1 ED % y coordinate of the beginning of the slur - /x1 ED % x coordinate of the beginning of the slur - /yr2 ED - /yr1 ED - /internote ED - /x2 x2 x1 sub def % x2=x2-x1 - /y2 y2 y1 sub def % y2=y2-y1 - /sx y2 x2 div def - /b x2 300 mul Resolution div abs sqrt AR 2 mul def % b=2*sqrt(x2) - b 3 AR lt {/b 3 AR def} if % b=max(b,3) - b m gt {/b m def} if % b=min(b,m) - /aa b aa mul def % aa=aa*b - /s 90 x2 y2 atan sub def % s=90-arctan(x2,y2) slope of the slur - /aa aa s cos div def % aa=aa/cos(s) height of the slur - /x2 s neg cos x2 mul s neg sin y2 mul sub def % x2 = x2*cos(-s) - y2*sin(-s) - % is the length of the slur - e x2 mul maxe gt { /e maxe x2 div def } if - /beta e x2 mul aa neg atan def - beta 90 gt {/beta 180 beta sub def} if - /ax1 e x2 mul def % control points - /ay1 aa def - /ax2 1 e sub x2 mul def - /ay2 aa def - -% check if the starting and endin vector stay in desired quadrants -% => beta < abs(s) - beta s abs lt { - /b aa abs s abs 2 add sin mul s abs 2 add cos div def - s aa mul 0 lt { - s cos 0.75 lt { /ax1 ax1 b 1 s cos sub mul 0.5 mul sub def /ay1 ay1 s cos mul 0.8 mul def } if -% ^^^^ ^^^ ^^^ -% (values to play with) - /ax2 x2 b sub def - } - { - /ax1 b def - s cos 0.75 lt { /ax2 b 1 s cos sub mul 0.5 mul ax2 add def /ay2 ay2 s cos mul 0.8 mul def } if -% ^^^^ ^^^ ^^^ - } ifelse - } if - -% align the slur to the staff lines - - gsave - x1 y1 translate - s rotate -% [1 0 sx 1 0 0] concat - drawseg - gsave - initmatrix - flattenpath - pathbbox - exch pop - sub - /slh ED % in slh we have the height of the whole slur - pop - grestore - - /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def - /slh yr slh internote div aa 0 gt { add } { sub } ifelse 2 div def -% check if the slur gets too close to staff line - /shift 0 def - slh 4.45 lt slh -0.5 gt and { - /slh slh dup truncate sub def - slh 0 lt { /slh 1 slh add def } if - aa 0 gt { /slh 1 slh sub def } if - - % slh now contains the position ot the slur top/bottom in the space - % between the nearest staff lines (from <0,1>), regardless direction - - % slur is too low: - slh 0.45 lt { /shift 0.45 slh sub def } if - % slur is too high, but we can be shift it down: - slh 0.7 gt slh 0.85 lt and { /shift 0.7 slh sub def } if - % slur is too high, must be shifted up: - slh 0.85 ge { /shift 1.45 slh sub def } if - } if - - aa 0 gt { /shift shift neg def } if - - ifadjust 0 eq { - /shift 0 def - } if - - -% and finally draw it... - - grestore - gsave - /linew internote 0.06 mul AR def - linew 4 mul setlinewidth - 1 setlinecap - 0 setlinejoin - ifdash 1 eq - { [internote 8 mul AR internote 5 mul AR] 0 setdash } if - x1 y1 shift neg 2 mul internote mul 4 AR mul add translate - s rotate -% [1 sx 0 1 0 0] concat - -% uncomment this to see the control points -% 5 AR setlinewidth ax1 ay1 moveto 0.1 0 rlineto stroke -% ax2 ay2 moveto 0.1 0 rlineto stroke linew setlinewidth - - drawseg - 1 VS - drawseg - -2 VS - drawseg - x2 20 AR gt { - 3 VS - drawseg - } if - x2 50 AR gt { - -4 VS - drawseg - } if - x2 80 AR gt { - 5 VS - drawseg - } if - stroke - - grestore - - % now some \slurtext code... - - /x1 ax1 ax2 add 2 div def % middle of the slur - /y1 ay1 ay2 add 2 div def - x1 s cos mul y1 s sin mul add neg - y1 s cos mul x1 s sin mul sub - aa 0 lt {1} {0} ifelse - end - - % this is a hack to place the slurtext in the middle of the slur. - % From unknown reasons simple 'ax1 ay1 translate' did not work, - % so we have to overlay some definitions with our own, namely - % 'a', which is originally 'moveto' and 'V' for drawing rules. - % maybe there are some other operations that should be redefined, - % but for almost all cases this will be sufficient. If you find - % anything that won't be typeset at the correct position, let me know... - - temp@xx@dict begin - /dir exch def - /ay1 exch def - /ax1 exch def -} def - -% crescendos -/DC { - /y2 ED - /x2 ED - /y1 ED - /x1 ED - gsave - 1 AR ceiling setlinewidth % line thickness: this results - 1 setlinecap % to exactly 2 pixels in 300 dpi - 1 setlinejoin - x2 y2 10 AR add moveto % the 10's specify wideness of the - x1 y1 lineto % open end of the crescendo, - x2 y2 10 AR sub lineto % similarly the 11's below - stroke - grestore -} def - -% half crescendos -/DHC { - /y2 ED - /x2 ED - /y1 ED - /x1 ED - gsave - 1 AR ceiling setlinewidth - 1 setlinecap - 1 setlinejoin - x2 y2 11 AR add moveto - x1 y1 4 AR add lineto stroke - x1 y1 4 AR sub moveto - x2 y2 11 AR sub lineto - stroke - grestore -} def - -% differenced line - -/DLN { - gsave - GDAR ceiling setlinewidth - GDAR exch GDAR neg rlineto - stroke - grestore -} def - -% sloped line - -/DSLN { - gsave - GDAR ceiling setlinewidth - GDAR exch 1.125 mul neg rotate 0 rlineto - stroke - grestore -} def - -% free line (init & terminate) - -/DFLN { - gsave - GDAR ceiling setlinewidth - CP moveto - lineto - stroke - grestore -} def - -end - - -%%EndProcSet -%%BeginProcSet: texps.pro -%! -TeXDict begin/rf{findfont dup length 1 add dict begin{1 index/FID ne 2 -index/UniqueID ne and{def}{pop pop}ifelse}forall[1 index 0 6 -1 roll -exec 0 exch 5 -1 roll VResolution Resolution div mul neg 0 0]/Metrics -exch def dict begin Encoding{exch dup type/integertype ne{pop pop 1 sub -dup 0 le{pop}{[}ifelse}{FontMatrix 0 get div Metrics 0 get div def} -ifelse}forall Metrics/Metrics currentdict end def[2 index currentdict -end definefont 3 -1 roll makefont/setfont cvx]cvx def}def/ObliqueSlant{ -dup sin S cos div neg}B/SlantFont{4 index mul add}def/ExtendFont{3 -1 -roll mul exch}def/ReEncodeFont{CharStrings rcheck{/Encoding false def -dup[exch{dup CharStrings exch known not{pop/.notdef/Encoding true def} -if}forall Encoding{]exch pop}{cleartomark}ifelse}if/Encoding exch def} -def end - -%%EndProcSet -%%BeginProcSet: special.pro -%! -TeXDict begin/SDict 200 dict N SDict begin/@SpecialDefaults{/hs 612 N -/vs 792 N/ho 0 N/vo 0 N/hsc 1 N/vsc 1 N/ang 0 N/CLIP 0 N/rwiSeen false N -/rhiSeen false N/letter{}N/note{}N/a4{}N/legal{}N}B/@scaleunit 100 N -/@hscale{@scaleunit div/hsc X}B/@vscale{@scaleunit div/vsc X}B/@hsize{ -/hs X/CLIP 1 N}B/@vsize{/vs X/CLIP 1 N}B/@clip{/CLIP 2 N}B/@hoffset{/ho -X}B/@voffset{/vo X}B/@angle{/ang X}B/@rwi{10 div/rwi X/rwiSeen true N}B -/@rhi{10 div/rhi X/rhiSeen true N}B/@llx{/llx X}B/@lly{/lly X}B/@urx{ -/urx X}B/@ury{/ury X}B/magscale true def end/@MacSetUp{userdict/md known -{userdict/md get type/dicttype eq{userdict begin md length 10 add md -maxlength ge{/md md dup length 20 add dict copy def}if end md begin -/letter{}N/note{}N/legal{}N/od{txpose 1 0 mtx defaultmatrix dtransform S -atan/pa X newpath clippath mark{transform{itransform moveto}}{transform{ -itransform lineto}}{6 -2 roll transform 6 -2 roll transform 6 -2 roll -transform{itransform 6 2 roll itransform 6 2 roll itransform 6 2 roll -curveto}}{{closepath}}pathforall newpath counttomark array astore/gc xdf -pop ct 39 0 put 10 fz 0 fs 2 F/|______Courier fnt invertflag{PaintBlack} -if}N/txpose{pxs pys scale ppr aload pop por{noflips{pop S neg S TR pop 1 --1 scale}if xflip yflip and{pop S neg S TR 180 rotate 1 -1 scale ppr 3 -get ppr 1 get neg sub neg ppr 2 get ppr 0 get neg sub neg TR}if xflip -yflip not and{pop S neg S TR pop 180 rotate ppr 3 get ppr 1 get neg sub -neg 0 TR}if yflip xflip not and{ppr 1 get neg ppr 0 get neg TR}if}{ -noflips{TR pop pop 270 rotate 1 -1 scale}if xflip yflip and{TR pop pop -90 rotate 1 -1 scale ppr 3 get ppr 1 get neg sub neg ppr 2 get ppr 0 get -neg sub neg TR}if xflip yflip not and{TR pop pop 90 rotate ppr 3 get ppr -1 get neg sub neg 0 TR}if yflip xflip not and{TR pop pop 270 rotate ppr -2 get ppr 0 get neg sub neg 0 S TR}if}ifelse scaleby96{ppr aload pop 4 --1 roll add 2 div 3 1 roll add 2 div 2 copy TR .96 dup scale neg S neg S -TR}if}N/cp{pop pop showpage pm restore}N end}if}if}N/normalscale{ -Resolution 72 div VResolution 72 div neg scale magscale{DVImag dup scale -}if 0 setgray}N/psfts{S 65781.76 div N}N/startTexFig{/psf$SavedState -save N userdict maxlength dict begin/magscale true def normalscale -currentpoint TR/psf$ury psfts/psf$urx psfts/psf$lly psfts/psf$llx psfts -/psf$y psfts/psf$x psfts currentpoint/psf$cy X/psf$cx X/psf$sx psf$x -psf$urx psf$llx sub div N/psf$sy psf$y psf$ury psf$lly sub div N psf$sx -psf$sy scale psf$cx psf$sx div psf$llx sub psf$cy psf$sy div psf$ury sub -TR/showpage{}N/erasepage{}N/copypage{}N/p 3 def @MacSetUp}N/doclip{ -psf$llx psf$lly psf$urx psf$ury currentpoint 6 2 roll newpath 4 copy 4 2 -roll moveto 6 -1 roll S lineto S lineto S lineto closepath clip newpath -moveto}N/endTexFig{end psf$SavedState restore}N/@beginspecial{SDict -begin/SpecialSave save N gsave normalscale currentpoint TR -@SpecialDefaults count/ocount X/dcount countdictstack N}N/@setspecial{ -CLIP 1 eq{newpath 0 0 moveto hs 0 rlineto 0 vs rlineto hs neg 0 rlineto -closepath clip}if ho vo TR hsc vsc scale ang rotate rwiSeen{rwi urx llx -sub div rhiSeen{rhi ury lly sub div}{dup}ifelse scale llx neg lly neg TR -}{rhiSeen{rhi ury lly sub div dup scale llx neg lly neg TR}if}ifelse -CLIP 2 eq{newpath llx lly moveto urx lly lineto urx ury lineto llx ury -lineto closepath clip}if/showpage{}N/erasepage{}N/copypage{}N newpath}N -/@endspecial{count ocount sub{pop}repeat countdictstack dcount sub{end} -repeat grestore SpecialSave restore end}N/@defspecial{SDict begin}N -/@fedspecial{end}B/li{lineto}B/rl{rlineto}B/rc{rcurveto}B/np{/SaveX -currentpoint/SaveY X N 1 setlinecap newpath}N/st{stroke SaveX SaveY -moveto}N/fil{fill SaveX SaveY moveto}N/ellipse{/endangle X/startangle X -/yrad X/xrad X/savematrix matrix currentmatrix N TR xrad yrad scale 0 0 -1 startangle endangle arc savematrix setmatrix}N end - -%%EndProcSet -%%BeginFont: CMBX12 -%!PS-AdobeFont-1.1: CMBX12 1.0 -%%CreationDate: 1991 Aug 20 16:34:54 -% Copyright (C) 1997 American Mathematical Society. All Rights Reserved. -11 dict begin -/FontInfo 7 dict dup begin -/version (1.0) readonly def -/Notice (Copyright (C) 1997 American Mathematical Society. All Rights Reserved) readonly def -/FullName (CMBX12) readonly def -/FamilyName (Computer Modern) readonly def -/Weight (Bold) readonly def -/ItalicAngle 0 def -/isFixedPitch false def -end readonly def -/FontName /CMBX12 def -/PaintType 0 def -/FontType 1 def -/FontMatrix [0.001 0 0 0.001 0 0] readonly def -/Encoding 256 array -0 1 255 {1 index exch /.notdef put} for -dup 40 /parenleft put -dup 41 /parenright put -dup 51 /three put -dup 76 /L put -dup 97 /a put -dup 99 /c put -dup 100 /d put -dup 101 /e put -dup 103 /g put -dup 105 /i put -dup 110 /n put -dup 111 /o put -dup 114 /r put -dup 116 /t put -dup 117 /u put -readonly def -/FontBBox{-53 -251 1139 750}readonly def -/UniqueID 5000769 def -currentdict end -currentfile eexec -D9D66F633B846A97B686A97E45A3D0AA052A014267B7904EB3C0D3BD0B83D891 -016CA6CA4B712ADEB258FAAB9A130EE605E61F77FC1B738ABC7C51CD46EF8171 -9098D5FEE67660E69A7AB91B58F29A4D79E57022F783EB0FBBB6D4F4EC35014F 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N/ctr 0 N/df-tail{/nn 8 dict N nn begin -/FontType 3 N/FontMatrix fntrx N/FontBBox FBB N string/base X array -/BitMaps X/BuildChar{CharBuilder}N/Encoding IEn N end A{/foo setfont}2 -array copy cvx N load 0 nn put/ctr 0 N[}B/sf 0 N/df{/sf 1 N/fntrx FMat N -df-tail}B/dfs{div/sf X/fntrx[sf 0 0 sf neg 0 0]N df-tail}B/E{pop nn A -definefont setfont}B/Cw{Cd A length 5 sub get}B/Ch{Cd A length 4 sub get -}B/Cx{128 Cd A length 3 sub get sub}B/Cy{Cd A length 2 sub get 127 sub} -B/Cdx{Cd A length 1 sub get}B/Ci{Cd A type/stringtype ne{ctr get/ctr ctr -1 add N}if}B/id 0 N/rw 0 N/rc 0 N/gp 0 N/cp 0 N/G 0 N/CharBuilder{save 3 -1 roll S A/base get 2 index get S/BitMaps get S get/Cd X pop/ctr 0 N Cdx -0 Cx Cy Ch sub Cx Cw add Cy setcachedevice Cw Ch true[1 0 0 -1 -.1 Cx -sub Cy .1 sub]/id Ci N/rw Cw 7 add 8 idiv string N/rc 0 N/gp 0 N/cp 0 N{ -rc 0 ne{rc 1 sub/rc X rw}{G}ifelse}imagemask restore}B/G{{id gp get/gp -gp 1 add N A 18 mod S 18 idiv pl S get exec}loop}B/adv{cp add/cp X}B -/chg{rw cp id gp 4 index getinterval putinterval A gp add/gp X adv}B/nd{ -/cp 0 N rw exit}B/lsh{rw cp 2 copy get A 0 eq{pop 1}{A 255 eq{pop 254}{ -A A add 255 and S 1 and or}ifelse}ifelse put 1 adv}B/rsh{rw cp 2 copy -get A 0 eq{pop 128}{A 255 eq{pop 127}{A 2 idiv S 128 and or}ifelse} -ifelse put 1 adv}B/clr{rw cp 2 index string putinterval adv}B/set{rw cp -fillstr 0 4 index getinterval putinterval adv}B/fillstr 18 string 0 1 17 -{2 copy 255 put pop}for N/pl[{adv 1 chg}{adv 1 chg nd}{1 add chg}{1 add -chg nd}{adv lsh}{adv lsh nd}{adv rsh}{adv rsh nd}{1 add adv}{/rc X nd}{ -1 add set}{1 add clr}{adv 2 chg}{adv 2 chg nd}{pop nd}]A{bind pop} -forall N/D{/cc X A type/stringtype ne{]}if nn/base get cc ctr put nn -/BitMaps get S ctr S sf 1 ne{A A length 1 sub A 2 index S get sf div put -}if put/ctr ctr 1 add N}B/I{cc 1 add D}B/bop{userdict/bop-hook known{ -bop-hook}if/SI save N @rigin 0 0 moveto/V matrix currentmatrix A 1 get A -mul exch 0 get A mul add .99 lt{/QV}{/RV}ifelse load def pop pop}N/eop{ -SI restore userdict/eop-hook known{eop-hook}if showpage}N/@start{ -userdict/start-hook known{start-hook}if pop/VResolution X/Resolution X -1000 div/DVImag X/IEn 256 array N 2 string 0 1 255{IEn S A 360 add 36 4 -index cvrs cvn put}for pop 65781.76 div/vsize X 65781.76 div/hsize X}N -/p{show}N/RMat[1 0 0 -1 0 0]N/BDot 260 string N/Rx 0 N/Ry 0 N/V{}B/RV/v{ -/Ry X/Rx X V}B statusdict begin/product where{pop false[(Display)(NeXT) -(LaserWriter 16/600)]{A length product length le{A length product exch 0 -exch getinterval eq{pop true exit}if}{pop}ifelse}forall}{false}ifelse -end{{gsave TR -.1 .1 TR 1 1 scale Rx Ry false RMat{BDot}imagemask -grestore}}{{gsave TR -.1 .1 TR Rx Ry scale 1 1 false RMat{BDot} -imagemask grestore}}ifelse B/QV{gsave newpath transform round exch round -exch itransform moveto Rx 0 rlineto 0 Ry neg rlineto Rx neg 0 rlineto -fill grestore}B/a{moveto}B/delta 0 N/tail{A/delta X 0 rmoveto}B/M{S p -delta add tail}B/b{S p tail}B/c{-4 M}B/d{-3 M}B/e{-2 M}B/f{-1 M}B/g{0 M} -B/h{1 M}B/i{2 M}B/j{3 M}B/k{4 M}B/w{0 rmoveto}B/l{p -4 w}B/m{p -3 w}B/n{ -p -2 w}B/o{p -1 w}B/q{p 1 w}B/r{p 2 w}B/s{p 3 w}B/t{p 4 w}B/x{0 S -rmoveto}B/y{3 2 roll p a}B/bos{/SS save N}B/eos{SS restore}B end -% This file can be used instead of psslurs.pro, it is only commented -% and indented. -% -% VERSION: 1.0 -% -% WARNING! This is a heavy magic! If you want something more understandable, -% you will have to write it yourself (if it is possible in a stack-oriented -% language that PostScript is). There are some constants you can -% change and see what happens, but I think the slurs should be almost -% always satisfiable. When not, let me know at: -% standa@hiero.cz -% Also any bug reports and comments are welcomed. -% -% Stanislav Kneifl. -/slur@Dict 200 dict def -% this dictionary is for \setslurtext, overriding some dvips's definitions -/temp@xx@dict 4 dict def temp@xx@dict begin - /a { moveto ax1 ay1 rmoveto } def - /V {gsave newpath transform round exch round exch itransform - exch ax1 add exch ay1 add moveto rulex 0 rlineto 0 ruley neg - rlineto rulex neg 0 rlineto fill grestore} def -end -TeXDict begin -% get dimen from TeX's string ("125pt" -> 125 PS points) -/GD { dup length 2 sub 0 exch getinterval cvr 1.045 mul} def -% get dimen adjusted to Resolution -/GDAR { dup length 2 sub 0 exch getinterval cvr 4 AR mul 1.045 mul} def -% Adjust to Resolution -/AR { Resolution mul 300 div } def -% the distances in dvips's PostScript are resolution dependant! -end -slur@Dict begin -/CP /currentpoint load def -/ED { exch def } bind def -/AR { Resolution mul 300 div } def % stands for Adjust to Resolution, -/VS { dup /ay1 exch ay1 exch linew mul 4 mul add def /ay2 exch ay2 exch linew mul 4 mul add def } def -/y { 3 2 roll ax1 ay1 rmoveto show moveto } def -/M { mul } def -/A { add } def -/SB { sub } def -/P { pop } def -/DP { dup } def -/R { roll } def -/drawseg { 0 0 moveto - ax1 ay1 - ax1 0.6 mul ax2 0.4 mul add ay1 0.6 mul ay2 0.4 mul add - ax1 ax2 add 2 div ay1 ay2 add 2 div curveto - ax1 0.4 mul ax2 0.6 mul add ay1 0.4 mul ay2 0.6 mul add - ax2 ay2 - x2 0 curveto } def -/DS { - AR /maxe ED - /ifadjust ED - /ifdash ED - AR /m ED % max height of the slur - /e ED % "angularity" of the slur; 0.1 = very angular, - % 0.3 = very round - /aa exch neg def % what to multiply the height with - % AFTER the max height checking - /y2 ED % y coordinate of the end of the slur - /x2 ED % x coordinate of the end of the slur - /y1 ED % y coordinate of the beginning of the slur - /x1 ED % x coordinate of the beginning of the slur - /yr2 ED - /yr1 ED - /internote ED - /x2 x2 x1 sub def % x2=x2-x1 - /y2 y2 y1 sub def % y2=y2-y1 - /sx y2 x2 div def - /b x2 300 mul Resolution div abs sqrt AR 2 mul def % b=2*sqrt(x2) - b 3 AR lt {/b 3 AR def} if % b=max(b,3) - b m gt {/b m def} if % b=min(b,m) - /aa b aa mul def % aa=aa*b - /s 90 x2 y2 atan sub def % s=90-arctan(x2,y2) slope of the slur - /aa aa s cos div def % aa=aa/cos(s) height of the slur - /x2 s neg cos x2 mul s neg sin y2 mul sub def % x2 = x2*cos(-s) - y2*sin(-s) - % is the length of the slur - e x2 mul maxe gt { /e maxe x2 div def } if - /beta e x2 mul aa neg atan def - beta 90 gt {/beta 180 beta sub def} if - /ax1 e x2 mul def % control points - /ay1 aa def - /ax2 1 e sub x2 mul def - /ay2 aa def -% check if the starting and endin vector stay in desired quadrants -% => beta < abs(s) - beta s abs lt { - /b aa abs s abs 2 add sin mul s abs 2 add cos div def - s aa mul 0 lt { - s cos 0.75 lt { /ax1 ax1 b 1 s cos sub mul 0.5 mul sub def /ay1 ay1 s cos mul 0.8 mul def } if -% ^^^^ ^^^ ^^^ -% (values to play with) - /ax2 x2 b sub def - } - { - /ax1 b def - s cos 0.75 lt { /ax2 b 1 s cos sub mul 0.5 mul ax2 add def /ay2 ay2 s cos mul 0.8 mul def } if -% ^^^^ ^^^ ^^^ - } ifelse - } if -% align the slur to the staff lines - gsave - x1 y1 translate - s rotate -% [1 0 sx 1 0 0] concat - drawseg - gsave - initmatrix - flattenpath - pathbbox - exch pop - sub - /slh ED % in slh we have the height of the whole slur - pop - grestore - /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def - /slh yr slh internote div aa 0 gt { add } { sub } ifelse 2 div def -% check if the slur gets too close to staff line - /shift 0 def - slh 4.45 lt slh -0.5 gt and { - /slh slh dup truncate sub def - slh 0 lt { /slh 1 slh add def } if - aa 0 gt { /slh 1 slh sub def } if - % slh now contains the position ot the slur top/bottom in the space - % between the nearest staff lines (from <0,1>), regardless direction - % slur is too low: - slh 0.45 lt { /shift 0.45 slh sub def } if - % slur is too high, but we can be shift it down: - slh 0.7 gt slh 0.85 lt and { /shift 0.7 slh sub def } if - % slur is too high, must be shifted up: - slh 0.85 ge { /shift 1.45 slh sub def } if - } if - aa 0 gt { /shift shift neg def } if - ifadjust 0 eq { - /shift 0 def - } if -% and finally draw it... - grestore - gsave - /linew internote 0.06 mul AR def - linew 4 mul setlinewidth - 1 setlinecap - 0 setlinejoin - ifdash 1 eq - { [internote 8 mul AR internote 5 mul AR] 0 setdash } if - x1 y1 shift neg 2 mul internote mul 4 AR mul add translate - s rotate -% [1 sx 0 1 0 0] concat -% uncomment this to see the control points -% 5 AR setlinewidth ax1 ay1 moveto 0.1 0 rlineto stroke -% ax2 ay2 moveto 0.1 0 rlineto stroke linew setlinewidth - drawseg - 1 VS - drawseg - -2 VS - drawseg - x2 20 AR gt { - 3 VS - drawseg - } if - x2 50 AR gt { - -4 VS - drawseg - } if - x2 80 AR gt { - 5 VS - drawseg - } if - stroke - grestore - % now some \slurtext code... - /x1 ax1 ax2 add 2 div def % middle of the slur - /y1 ay1 ay2 add 2 div def - x1 s cos mul y1 s sin mul add neg - y1 s cos mul x1 s sin mul sub - aa 0 lt {1} {0} ifelse - end - % this is a hack to place the slurtext in the middle of the slur. - % From unknown reasons simple 'ax1 ay1 translate' did not work, - % so we have to overlay some definitions with our own, namely - % 'a', which is originally 'moveto' and 'V' for drawing rules. - % maybe there are some other operations that should be redefined, - % but for almost all cases this will be sufficient. If you find - % anything that won't be typeset at the correct position, let me know... - temp@xx@dict begin - /dir exch def - /ay1 exch def - /ax1 exch def -} def -% crescendos -/DC { - /y2 ED - /x2 ED - /y1 ED - /x1 ED - gsave - 1 AR ceiling setlinewidth % line thickness: this results - 1 setlinecap % to exactly 2 pixels in 300 dpi - 1 setlinejoin - x2 y2 10 AR add moveto % the 10's specify wideness of the - x1 y1 lineto % open end of the crescendo, - x2 y2 10 AR sub lineto % similarly the 11's below - stroke - grestore -} def -% half crescendos -/DHC { - /y2 ED - /x2 ED - /y1 ED - /x1 ED - gsave - 1 AR ceiling setlinewidth - 1 setlinecap - 1 setlinejoin - x2 y2 11 AR add moveto - x1 y1 4 AR add lineto stroke - x1 y1 4 AR sub moveto - x2 y2 11 AR sub lineto - stroke - grestore -} def -% differenced line -/DLN { - gsave - GDAR ceiling setlinewidth - GDAR exch GDAR neg rlineto - stroke - grestore -} def -% sloped line -/DSLN { - gsave - GDAR ceiling setlinewidth - GDAR exch 1.125 mul neg rotate 0 rlineto - stroke - grestore -} def -% free line (init & terminate) -/DFLN { - gsave - GDAR ceiling setlinewidth - CP moveto - lineto - stroke - grestore -} def -end -%! -TeXDict begin/rf{findfont dup length 1 add dict begin{1 index/FID ne 2 -index/UniqueID ne and{def}{pop pop}ifelse}forall[1 index 0 6 -1 roll -exec 0 exch 5 -1 roll VResolution Resolution div mul neg 0 0]/Metrics -exch def dict begin Encoding{exch dup type/integertype ne{pop pop 1 sub -dup 0 le{pop}{[}ifelse}{FontMatrix 0 get div Metrics 0 get div def} -ifelse}forall Metrics/Metrics currentdict end def[2 index currentdict -end definefont 3 -1 roll makefont/setfont cvx]cvx def}def/ObliqueSlant{ -dup sin S cos div neg}B/SlantFont{4 index mul add}def/ExtendFont{3 -1 -roll mul exch}def/ReEncodeFont{CharStrings rcheck{/Encoding false def -dup[exch{dup CharStrings exch known not{pop/.notdef/Encoding true def} -if}forall Encoding{]exch pop}{cleartomark}ifelse}if/Encoding exch def} -def end -%! -TeXDict begin/SDict 200 dict N SDict begin/@SpecialDefaults{/hs 612 N -/vs 792 N/ho 0 N/vo 0 N/hsc 1 N/vsc 1 N/ang 0 N/CLIP 0 N/rwiSeen false N -/rhiSeen false N/letter{}N/note{}N/a4{}N/legal{}N}B/@scaleunit 100 N -/@hscale{@scaleunit div/hsc X}B/@vscale{@scaleunit div/vsc X}B/@hsize{ -/hs X/CLIP 1 N}B/@vsize{/vs X/CLIP 1 N}B/@clip{/CLIP 2 N}B/@hoffset{/ho -X}B/@voffset{/vo X}B/@angle{/ang X}B/@rwi{10 div/rwi X/rwiSeen true N}B -/@rhi{10 div/rhi X/rhiSeen true N}B/@llx{/llx X}B/@lly{/lly X}B/@urx{ -/urx X}B/@ury{/ury X}B/magscale true def end/@MacSetUp{userdict/md known -{userdict/md get type/dicttype eq{userdict begin md length 10 add md -maxlength ge{/md md dup length 20 add dict copy def}if end md begin -/letter{}N/note{}N/legal{}N/od{txpose 1 0 mtx defaultmatrix dtransform S -atan/pa X newpath clippath mark{transform{itransform moveto}}{transform{ -itransform lineto}}{6 -2 roll transform 6 -2 roll transform 6 -2 roll -transform{itransform 6 2 roll itransform 6 2 roll itransform 6 2 roll -curveto}}{{closepath}}pathforall newpath counttomark array astore/gc xdf -pop ct 39 0 put 10 fz 0 fs 2 F/|______Courier fnt invertflag{PaintBlack} -if}N/txpose{pxs pys scale ppr aload pop por{noflips{pop S neg S TR pop 1 --1 scale}if xflip yflip and{pop S neg S TR 180 rotate 1 -1 scale ppr 3 -get ppr 1 get neg sub neg ppr 2 get ppr 0 get neg sub neg TR}if xflip -yflip not and{pop S neg S TR pop 180 rotate ppr 3 get ppr 1 get neg sub -neg 0 TR}if yflip xflip not and{ppr 1 get neg ppr 0 get neg TR}if}{ -noflips{TR pop pop 270 rotate 1 -1 scale}if xflip yflip and{TR pop pop -90 rotate 1 -1 scale ppr 3 get ppr 1 get neg sub neg ppr 2 get ppr 0 get -neg sub neg TR}if xflip yflip not and{TR pop pop 90 rotate ppr 3 get ppr -1 get neg sub neg 0 TR}if yflip xflip not and{TR pop pop 270 rotate ppr -2 get ppr 0 get neg sub neg 0 S TR}if}ifelse scaleby96{ppr aload pop 4 --1 roll add 2 div 3 1 roll add 2 div 2 copy TR .96 dup scale neg S neg S -TR}if}N/cp{pop pop showpage pm restore}N end}if}if}N/normalscale{ -Resolution 72 div VResolution 72 div neg scale magscale{DVImag dup scale -}if 0 setgray}N/psfts{S 65781.76 div N}N/startTexFig{/psf$SavedState -save N userdict maxlength dict begin/magscale true def normalscale -currentpoint TR/psf$ury psfts/psf$urx psfts/psf$lly psfts/psf$llx psfts -/psf$y psfts/psf$x psfts currentpoint/psf$cy X/psf$cx X/psf$sx psf$x -psf$urx psf$llx sub div N/psf$sy psf$y psf$ury psf$lly sub div N psf$sx -psf$sy scale psf$cx psf$sx div psf$llx sub psf$cy psf$sy div psf$ury sub -TR/showpage{}N/erasepage{}N/copypage{}N/p 3 def @MacSetUp}N/doclip{ -psf$llx psf$lly psf$urx psf$ury currentpoint 6 2 roll newpath 4 copy 4 2 -roll moveto 6 -1 roll S lineto S lineto S lineto closepath clip newpath -moveto}N/endTexFig{end psf$SavedState restore}N/@beginspecial{SDict -begin/SpecialSave save N gsave normalscale currentpoint TR -@SpecialDefaults count/ocount X/dcount countdictstack N}N/@setspecial{ -CLIP 1 eq{newpath 0 0 moveto hs 0 rlineto 0 vs rlineto hs neg 0 rlineto -closepath clip}if ho vo TR hsc vsc scale ang rotate rwiSeen{rwi urx llx -sub div rhiSeen{rhi ury lly sub div}{dup}ifelse scale llx neg lly neg TR -}{rhiSeen{rhi ury lly sub div dup scale llx neg lly neg TR}if}ifelse -CLIP 2 eq{newpath llx lly moveto urx lly lineto urx ury lineto llx ury -lineto closepath clip}if/showpage{}N/erasepage{}N/copypage{}N newpath}N -/@endspecial{count ocount sub{pop}repeat countdictstack dcount sub{end} -repeat grestore SpecialSave restore end}N/@defspecial{SDict begin}N -/@fedspecial{end}B/li{lineto}B/rl{rlineto}B/rc{rcurveto}B/np{/SaveX -currentpoint/SaveY X N 1 setlinecap newpath}N/st{stroke SaveX SaveY -moveto}N/fil{fill SaveX SaveY moveto}N/ellipse{/endangle X/startangle X -/yrad X/xrad X/savematrix matrix currentmatrix N TR xrad yrad scale 0 0 -1 startangle endangle arc savematrix setmatrix}N end -%!PS-AdobeFont-1.1: CMTI10 1.00B -% Copyright (C) 1997 American Mathematical Society. All Rights Reserved. -11 dict begin -/FontInfo 7 dict dup begin -/version (1.00B) readonly def -/Notice (Copyright (C) 1997 American Mathematical Society. All Rights Reserved) readonly def -/FullName (CMTI10) readonly def -/FamilyName (Computer Modern) readonly def -/Weight (Medium) readonly def -/ItalicAngle -14.04 def -/isFixedPitch false def -end readonly def -/FontName /CMTI10 def -/PaintType 0 def -/FontType 1 def -/FontMatrix [0.001 0 0 0.001 0 0] readonly def -/Encoding 256 array -0 1 255 {1 index exch /.notdef put} for -dup 44 /comma put -dup 46 /period put -dup 65 /A put -dup 66 /B put -dup 67 /C put -dup 68 /D put -dup 70 /F put -dup 72 /H put -dup 73 /I put -dup 74 /J put -dup 77 /M put -dup 80 /P put -dup 81 /Q put -dup 82 /R put -dup 83 /S put -dup 86 /V put -dup 97 /a put -dup 99 /c put -dup 100 /d put -dup 101 /e put -dup 102 /f put -dup 103 /g put -dup 104 /h put -dup 105 /i put -dup 108 /l put -dup 109 /m put -dup 110 /n put -dup 111 /o put -dup 112 /p put -dup 114 /r put -dup 115 /s put -dup 116 /t put -dup 117 /u put -dup 118 /v put -dup 120 /x put -readonly def -/FontBBox{-163 -250 1146 969}readonly def -/UniqueID 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All Rights Reserved. -11 dict begin -/FontInfo 7 dict dup begin -/version (1.0) readonly def -/Notice (Copyright (C) 1997 American Mathematical Society. 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All Rights Reserved. -11 dict begin -/FontInfo 7 dict dup begin -/version (1.0) readonly def -/Notice (Copyright (C) 1997 American Mathematical Society. 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All Rights Reserved. -11 dict begin -/FontInfo 7 dict dup begin -/version (1.0) readonly def -/Notice (Copyright (C) 1997 American Mathematical Society. All Rights Reserved) readonly def -/FullName (CMTI12) readonly def -/FamilyName (Computer Modern) readonly def -/Weight (Medium) readonly def -/ItalicAngle -14.04 def -/isFixedPitch false def -end readonly def -/FontName /CMTI12 def -/PaintType 0 def -/FontType 1 def -/FontMatrix [0.001 0 0 0.001 0 0] readonly def -/Encoding 256 array -0 1 255 {1 index exch /.notdef put} for -dup 74 /J put -dup 84 /T put -dup 97 /a put -dup 100 /d put -dup 104 /h put -dup 105 /i put -dup 109 /m put -dup 110 /n put -dup 112 /p put -dup 114 /r put -dup 115 /s put -dup 116 /t put -dup 117 /u put -readonly def -/FontBBox{-36 -251 1103 750}readonly def -/UniqueID 5000829 def -currentdict end -currentfile eexec -D9D66F633B846A97B686A97E45A3D0AA0529731C99A784CCBE85B4993B2EEBDE -3B12D472B7CF54651EF21185116A69AB1096ED4BAD2F646635E019B6417CC77B -532F85D811C70D1429A19A5307EF63EB5C5E02C89FC6C20F6D9D89E7D91FE470 -B72BEFDA23F5DF76BE05AF4CE93137A219ED8A04A9D7D6FDF37E6B7FCDE0D90B 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All Rights Reserved. -11 dict begin -/FontInfo 7 dict dup begin -/version (1.00B) readonly def -/Notice (Copyright (C) 1997 American Mathematical Society. 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12475 3227 V 12789 9940 -a - slur@Dict begin CP /S0y1 ED /S0x1 ED /S0hgt (0.79999pt) GD N /S0brk -S0hgt (2.0pt) GD 1 -1 M M A N /S0lift 0 N /S0alt (48.0pt) GDAR N /S0dir --1 N /S0dash 0 N /S0adj 0 N end - 12789 9940 a 12690 10480 a Fd(v)-9 b(o)12535 10828 -y(-)47 b(cen)12424 11176 y(-)158 b(vi)p 12852 9827 15 -492 v 12691 9827 a Fj(\007)12691 9757 y(\000)12789 7044 -y - slur@Dict begin CP /S1y1 ED /S1x1 ED /S1hgt (19.20001pt) GD N /S1brk -S1hgt (2.0pt) GD 1 1 M M A N /S1lift 0 N /S1alt (112.0pt) GDAR N /S1dir -1 N /S1dash 0 N /S1adj 0 N end - 12789 7044 a 12690 8301 a Fd(v)-9 b(o)12535 8649 y(-)47 -b(cen)12424 8997 y(-)158 b(vi)p 12690 7648 15 492 v 12691 -7156 a Fj(\007)12691 7086 y(\000)12690 6052 y Fd(v)-9 -b(o)12535 6400 y(-)47 b(cen)12424 6748 y(-)158 b(vi)p -12690 5645 15 457 v 12691 5188 a Fj(\007)12691 5118 y(\000)p -13540 5645 15 387 v 13541 5258 a(\007)p 13824 5645 15 -457 v 13825 5188 a(\007)p 13542 5573 581 68 v 12690 5679 -1431 68 v 14107 5645 15 528 v 14108 5118 a(\007)12690 -3803 y Fd(v)-9 b(o)12535 4150 y(-)47 b(cen)12424 4498 -y(-)158 b(vi)p 12690 3501 15 563 v 12691 2939 a Fj(\007)p -12974 3473 15 464 v 12975 3009 a(\007)p 13257 3445 15 -506 v 13258 2939 a(\007)p 13540 3417 15 548 v 13541 2868 -a(\007)p 13824 3389 15 590 v 13825 2798 a(\007)12690 -3397 y(\212)12997 3366 y(\212)12690 3501 y(\212)12997 -3470 y(\212)p 14107 3361 15 632 v 14108 2728 a(\007)p -14391 9975 15 570 v 14391 7726 V 14391 5476 V 14391 3227 -V 14690 9827 a - slur@Dict begin (2.0pt) GD S0hgt (4.0pt) GD 1.6 (2.0pt) GD M S0dir -M A S0x1 S0y1 CP (3.20001pt) GDAR S0dir M SB 1 S0dir M 0.17 40 S0dash -S0adj 90 DS /ay1 ay1 (0.0pt) GDAR -10 AR add dir mul add def - 14690 9827 a 14690 9827 a - end - 14690 9827 a -14767 9827 15 457 v 78 w Fj(\()-162 b(\007)14690 7156 -y - slur@Dict begin (2.0pt) GD S1hgt (16.0pt) GD 1.6 (2.0pt) GD M S1dir -M A S1x1 S1y1 CP (3.20001pt) GDAR S1dir M SB 1 S1dir M 0.17 40 S1dash -S1adj 90 DS /ay1 ay1 (0.0pt) GDAR -10 AR add dir mul add def - 14690 7156 a 14690 7156 a - end - 14690 7156 a 14606 7648 15 -492 v -83 w Fj(\007)14607 7086 y(\000)p 14606 5610 15 -563 v -2038 x(\007)14607 5504 y(\332)14623 5508 y(\332)14607 -5610 y(\332)14623 5614 y(\332)p 14889 5681 15 493 v 14890 -5188 a(\007)p 14606 3290 15 633 v 14607 2658 a(\007)14607 -3185 y(\362)14623 3192 y(\362)14607 3290 y(\362)14623 -3297 y(\362)p 14889 3418 15 479 v 14890 2939 a(\007)p -15172 10038 15 492 v 15173 9546 a(\007)15172 4696 y Fa(tr)p -15334 5258 V 15173 5258 a Fj(\007)15172 2587 y Fa(tr)p -15172 3360 V 15173 2868 a Fj(\007)p 15741 9975 15 570 -v 15741 7726 V 15741 5476 V 15741 3227 V 13681 10480 -a Fd(-)1333 b(-)666 b(ta)13785 10828 y(-)1251 b(-)626 -b(de)13632 11176 y(-)1359 b(-)680 b(v)-9 b(e)p 16118 -9827 15 492 v 15957 9827 a Fj(\007)15957 9757 y(\000)13681 -8301 y Fd(-)1333 b(-)666 b(ta)13785 8649 y(-)1251 b(-)626 -b(de)13632 8997 y(-)1359 b(-)680 b(v)-9 b(e)p 15956 7648 -V 15957 7156 a Fj(\007)15957 7086 y(\000)13681 6052 y -Fd(-)1333 b(-)666 b(ta)13785 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pop/VResolution X/Resolution X -1000 div/DVImag X/IE 256 array N 2 string 0 1 255{IE S A 360 add 36 4 -index cvrs cvn put}for pop 65781.76 div/vsize X 65781.76 div/hsize X}N -/p{show}N/RMat[1 0 0 -1 0 0]N/BDot 260 string N/Rx 0 N/Ry 0 N/v{/Ry X -/Rx X V}B/V{}B/RV statusdict begin/product where{pop false[(Display) -(NeXT)(LaserWriter 16/600)]{A length product length le{A length product -exch 0 exch getinterval eq{pop true exit}if}{pop}ifelse}forall}{false} -ifelse end{{gsave TR -.1 .1 TR 1 1 scale Rx Ry false RMat{BDot} -imagemask grestore}}{{gsave TR -.1 .1 TR Rx Ry scale 1 1 false RMat{ -BDot}imagemask grestore}}ifelse B/QV{gsave newpath transform round exch -round exch itransform moveto Rx 0 rlineto 0 Ry neg rlineto Rx neg 0 -rlineto fill grestore}B/a{moveto}B/delta 0 N/tail{A/delta X 0 rmoveto}B -/M{S p delta add tail}B/b{S p tail}B/c{-4 M}B/d{-3 M}B/e{-2 M}B/f{-1 M} -B/g{0 M}B/h{1 M}B/i{2 M}B/j{3 M}B/k{4 M}B/w{0 rmoveto}B/l{p -4 w}B/m{p --3 w}B/n{p -2 w}B/o{p -1 w}B/q{p 1 w}B/r{p 2 w}B/s{p 3 w}B/t{p 4 w}B/x{ -0 S rmoveto}B/y{3 2 roll p a}B/bos{/SS save N}B/eos{SS restore}B end - -%%EndProcSet -%%BeginProcSet: psslurs.pro -% This file can be used instead of psslurs.pro, it is only commented -% and indented. -% -% VERSION: 1.0 -% -% WARNING! This is a heavy magic! If you want something more understandable, -% you will have to write it yourself (if it is possible in a stack-oriented -% language that PostScript is). There are some constants you can -% change and see what happens, but I think the slurs should be almost -% always satisfiable. When not, let me know at: -% standa@hiero.cz -% Also any bug reports and comments are welcomed. -% -% Stanislav Kneifl. - -/slur@Dict 200 dict def - -% this dictionary is for \setslurtext, overriding some dvips's definitions -/temp@xx@dict 4 dict def temp@xx@dict begin - /a { moveto ax1 ay1 rmoveto } def - /V {gsave newpath transform round exch round exch itransform - exch ax1 add exch ay1 add moveto rulex 0 rlineto 0 ruley neg - rlineto rulex neg 0 rlineto fill grestore} def -end - -TeXDict begin -% get dimen from TeX's string ("125pt" -> 125 PS points) -/GD { dup length 2 sub 0 exch getinterval cvr 1.045 mul} def -% get dimen adjusted to Resolution -/GDAR { dup length 2 sub 0 exch getinterval cvr 4 AR mul 1.045 mul} def -% Adjust to Resolution -/AR { Resolution mul 300 div } def -% the distances in dvips's PostScript are resolution dependant! -end - -slur@Dict begin -/CP /currentpoint load def -/ED { exch def } bind def -/AR { Resolution mul 300 div } def % stands for Adjust to Resolution, -/VS { dup /ay1 exch ay1 exch linew mul 4 mul add def /ay2 exch ay2 exch linew mul 4 mul add def } def -/y { 3 2 roll ax1 ay1 rmoveto show moveto } def -/M { mul } def -/A { add } def -/SB { sub } def -/P { pop } def -/DP { dup } def -/R { roll } def - -/drawseg { 0 0 moveto - ax1 ay1 - ax1 0.6 mul ax2 0.4 mul add ay1 0.6 mul ay2 0.4 mul add - ax1 ax2 add 2 div ay1 ay2 add 2 div curveto - ax1 0.4 mul ax2 0.6 mul add ay1 0.4 mul ay2 0.6 mul add - ax2 ay2 - x2 0 curveto } def - -/DS { - AR /maxe ED - /ifadjust ED - /ifdash ED - AR /m ED % max height of the slur - /e ED % "angularity" of the slur; 0.1 = very angular, - % 0.3 = very round - /aa exch neg def % what to multiply the height with - % AFTER the max height checking - /y2 ED % y coordinate of the end of the slur - /x2 ED % x coordinate of the end of the slur - /y1 ED % y coordinate of the beginning of the slur - /x1 ED % x coordinate of the beginning of the slur - /yr2 ED - /yr1 ED - /internote ED - /x2 x2 x1 sub def % x2=x2-x1 - /y2 y2 y1 sub def % y2=y2-y1 - /sx y2 x2 div def - /b x2 300 mul Resolution div abs sqrt AR 2 mul def % b=2*sqrt(x2) - b 3 AR lt {/b 3 AR def} if % b=max(b,3) - b m gt {/b m def} if % b=min(b,m) - /aa b aa mul def % aa=aa*b - /s 90 x2 y2 atan sub def % s=90-arctan(x2,y2) slope of the slur - /aa aa s cos div def % aa=aa/cos(s) height of the slur - /x2 s neg cos x2 mul s neg sin y2 mul sub def % x2 = x2*cos(-s) - y2*sin(-s) - % is the length of the slur - e x2 mul maxe gt { /e maxe x2 div def } if - /beta e x2 mul aa neg atan def - beta 90 gt {/beta 180 beta sub def} if - /ax1 e x2 mul def % control points - /ay1 aa def - /ax2 1 e sub x2 mul def - /ay2 aa def - -% check if the starting and endin vector stay in desired quadrants -% => beta < abs(s) - beta s abs lt { - /b aa abs s abs 2 add sin mul s abs 2 add cos div def - s aa mul 0 lt { - s cos 0.75 lt { /ax1 ax1 b 1 s cos sub mul 0.5 mul sub def /ay1 ay1 s cos mul 0.8 mul def } if -% ^^^^ ^^^ ^^^ -% (values to play with) - /ax2 x2 b sub def - } - { - /ax1 b def - s cos 0.75 lt { /ax2 b 1 s cos sub mul 0.5 mul ax2 add def /ay2 ay2 s cos mul 0.8 mul def } if -% ^^^^ ^^^ ^^^ - } ifelse - } if - -% align the slur to the staff lines - - gsave - x1 y1 translate - s rotate -% [1 0 sx 1 0 0] concat - drawseg - gsave - initmatrix - flattenpath - pathbbox - exch pop - sub - /slh ED % in slh we have the height of the whole slur - pop - grestore - - /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def - /slh yr slh internote div aa 0 gt { add } { sub } ifelse 2 div def -% check if the slur gets too close to staff line - /shift 0 def - slh 4.45 lt slh -0.5 gt and { - /slh slh dup truncate sub def - slh 0 lt { /slh 1 slh add def } if - aa 0 gt { /slh 1 slh sub def } if - - % slh now contains the position ot the slur top/bottom in the space - % between the nearest staff lines (from <0,1>), regardless direction - - % slur is too low: - slh 0.45 lt { /shift 0.45 slh sub def } if - % slur is too high, but we can be shift it down: - slh 0.7 gt slh 0.85 lt and { /shift 0.7 slh sub def } if - % slur is too high, must be shifted up: - slh 0.85 ge { /shift 1.45 slh sub def } if - } if - - aa 0 gt { /shift shift neg def } if - - ifadjust 0 eq { - /shift 0 def - } if - - -% and finally draw it... - - grestore - gsave - /linew internote 0.06 mul AR def - linew 4 mul setlinewidth - 1 setlinecap - 0 setlinejoin - ifdash 1 eq - { [internote 8 mul AR internote 5 mul AR] 0 setdash } if - x1 y1 shift neg 2 mul internote mul 4 AR mul add translate - s rotate -% [1 sx 0 1 0 0] concat - -% uncomment this to see the control points -% 5 AR setlinewidth ax1 ay1 moveto 0.1 0 rlineto stroke -% ax2 ay2 moveto 0.1 0 rlineto stroke linew setlinewidth - - drawseg - 1 VS - drawseg - -2 VS - drawseg - x2 20 AR gt { - 3 VS - drawseg - } if - x2 50 AR gt { - -4 VS - drawseg - } if - x2 80 AR gt { - 5 VS - drawseg - } if - stroke - - grestore - - % now some \slurtext code... - - /x1 ax1 ax2 add 2 div def % middle of the slur - /y1 ay1 ay2 add 2 div def - x1 s cos mul y1 s sin mul add neg - y1 s cos mul x1 s sin mul sub - aa 0 lt {1} {0} ifelse - end - - % this is a hack to place the slurtext in the middle of the slur. - % From unknown reasons simple 'ax1 ay1 translate' did not work, - % so we have to overlay some definitions with our own, namely - % 'a', which is originally 'moveto' and 'V' for drawing rules. - % maybe there are some other operations that should be redefined, - % but for almost all cases this will be sufficient. If you find - % anything that won't be typeset at the correct position, let me know... - - temp@xx@dict begin - /dir exch def - /ay1 exch def - /ax1 exch def -} def - -% crescendos -/DC { - /y2 ED - /x2 ED - /y1 ED - /x1 ED - gsave - 1 AR ceiling setlinewidth % line thickness: this results - 1 setlinecap % to exactly 2 pixels in 300 dpi - 1 setlinejoin - x2 y2 10 AR add moveto % the 10's specify wideness of the - x1 y1 lineto % open end of the crescendo, - x2 y2 10 AR sub lineto % similarly the 11's below - stroke - grestore -} def - -% half crescendos -/DHC { - /y2 ED - /x2 ED - /y1 ED - /x1 ED - gsave - 1 AR ceiling setlinewidth - 1 setlinecap - 1 setlinejoin - x2 y2 11 AR add moveto - x1 y1 4 AR add lineto stroke - x1 y1 4 AR sub moveto - x2 y2 11 AR sub lineto - stroke - grestore -} def - -% differenced line - -/DLN { - gsave - GDAR ceiling setlinewidth - GDAR exch GDAR neg rlineto - stroke - grestore -} def - -% sloped line - -/DSLN { - gsave - GDAR ceiling setlinewidth - GDAR exch 1.125 mul neg rotate 0 rlineto - stroke - grestore -} def - -% free line (init & terminate) - -/DFLN { - gsave - GDAR ceiling setlinewidth - CP moveto - lineto - stroke - grestore -} def - -end - - -%%EndProcSet -%%BeginProcSet: texps.pro -%! -TeXDict begin/rf{findfont dup length 1 add dict begin{1 index/FID ne 2 -index/UniqueID ne and{def}{pop pop}ifelse}forall[1 index 0 6 -1 roll -exec 0 exch 5 -1 roll VResolution Resolution div mul neg 0 0]/Metrics -exch def dict begin Encoding{exch dup type/integertype ne{pop pop 1 sub -dup 0 le{pop}{[}ifelse}{FontMatrix 0 get div Metrics 0 get div def} -ifelse}forall Metrics/Metrics currentdict end def[2 index currentdict -end definefont 3 -1 roll makefont/setfont cvx]cvx def}def/ObliqueSlant{ -dup sin S cos div neg}B/SlantFont{4 index mul add}def/ExtendFont{3 -1 -roll mul exch}def/ReEncodeFont{CharStrings rcheck{/Encoding false def -dup[exch{dup CharStrings exch known not{pop/.notdef/Encoding true def} -if}forall Encoding{]exch pop}{cleartomark}ifelse}if/Encoding exch def} -def end - -%%EndProcSet -%%BeginProcSet: special.pro -%! -TeXDict begin/SDict 200 dict N SDict begin/@SpecialDefaults{/hs 612 N -/vs 792 N/ho 0 N/vo 0 N/hsc 1 N/vsc 1 N/ang 0 N/CLIP 0 N/rwiSeen false N -/rhiSeen false N/letter{}N/note{}N/a4{}N/legal{}N}B/@scaleunit 100 N -/@hscale{@scaleunit div/hsc X}B/@vscale{@scaleunit div/vsc X}B/@hsize{ -/hs X/CLIP 1 N}B/@vsize{/vs X/CLIP 1 N}B/@clip{/CLIP 2 N}B/@hoffset{/ho -X}B/@voffset{/vo X}B/@angle{/ang X}B/@rwi{10 div/rwi X/rwiSeen true N}B -/@rhi{10 div/rhi X/rhiSeen true N}B/@llx{/llx X}B/@lly{/lly X}B/@urx{ -/urx X}B/@ury{/ury X}B/magscale true def end/@MacSetUp{userdict/md known -{userdict/md get type/dicttype eq{userdict begin md length 10 add md -maxlength ge{/md md dup length 20 add dict copy def}if end md begin -/letter{}N/note{}N/legal{}N/od{txpose 1 0 mtx defaultmatrix dtransform S -atan/pa X newpath clippath mark{transform{itransform moveto}}{transform{ -itransform lineto}}{6 -2 roll transform 6 -2 roll transform 6 -2 roll -transform{itransform 6 2 roll itransform 6 2 roll itransform 6 2 roll -curveto}}{{closepath}}pathforall newpath counttomark array astore/gc xdf -pop ct 39 0 put 10 fz 0 fs 2 F/|______Courier fnt invertflag{PaintBlack} -if}N/txpose{pxs pys scale ppr aload pop por{noflips{pop S neg S TR pop 1 --1 scale}if xflip yflip and{pop S neg S TR 180 rotate 1 -1 scale ppr 3 -get ppr 1 get neg sub neg ppr 2 get ppr 0 get neg sub neg TR}if xflip -yflip not and{pop S neg S TR pop 180 rotate ppr 3 get ppr 1 get neg sub -neg 0 TR}if yflip xflip not and{ppr 1 get neg ppr 0 get neg TR}if}{ -noflips{TR pop pop 270 rotate 1 -1 scale}if xflip yflip and{TR pop pop -90 rotate 1 -1 scale ppr 3 get ppr 1 get neg sub neg ppr 2 get ppr 0 get -neg sub neg TR}if xflip yflip not and{TR pop pop 90 rotate ppr 3 get ppr -1 get neg sub neg 0 TR}if yflip xflip not and{TR pop pop 270 rotate ppr -2 get ppr 0 get neg sub neg 0 S TR}if}ifelse scaleby96{ppr aload pop 4 --1 roll add 2 div 3 1 roll add 2 div 2 copy TR .96 dup scale neg S neg S -TR}if}N/cp{pop pop showpage pm restore}N end}if}if}N/normalscale{ -Resolution 72 div VResolution 72 div neg scale magscale{DVImag dup scale -}if 0 setgray}N/psfts{S 65781.76 div N}N/startTexFig{/psf$SavedState -save N userdict maxlength dict begin/magscale true def normalscale -currentpoint TR/psf$ury psfts/psf$urx psfts/psf$lly psfts/psf$llx psfts -/psf$y psfts/psf$x psfts currentpoint/psf$cy X/psf$cx X/psf$sx psf$x -psf$urx psf$llx sub div N/psf$sy psf$y psf$ury psf$lly sub div N psf$sx -psf$sy scale psf$cx psf$sx div psf$llx sub psf$cy psf$sy div psf$ury sub -TR/showpage{}N/erasepage{}N/copypage{}N/p 3 def @MacSetUp}N/doclip{ -psf$llx psf$lly psf$urx psf$ury currentpoint 6 2 roll newpath 4 copy 4 2 -roll moveto 6 -1 roll S lineto S lineto S lineto closepath clip newpath -moveto}N/endTexFig{end psf$SavedState restore}N/@beginspecial{SDict -begin/SpecialSave save N gsave normalscale currentpoint TR -@SpecialDefaults count/ocount X/dcount countdictstack N}N/@setspecial{ -CLIP 1 eq{newpath 0 0 moveto hs 0 rlineto 0 vs rlineto hs neg 0 rlineto -closepath clip}if ho vo TR hsc vsc scale ang rotate rwiSeen{rwi urx llx -sub div rhiSeen{rhi ury lly sub div}{dup}ifelse scale llx neg lly neg TR -}{rhiSeen{rhi ury lly sub div dup scale llx neg lly neg TR}if}ifelse -CLIP 2 eq{newpath llx lly moveto urx lly lineto urx ury lineto llx ury -lineto closepath clip}if/showpage{}N/erasepage{}N/copypage{}N newpath}N -/@endspecial{count ocount sub{pop}repeat countdictstack dcount sub{end} -repeat grestore SpecialSave restore end}N/@defspecial{SDict begin}N -/@fedspecial{end}B/li{lineto}B/rl{rlineto}B/rc{rcurveto}B/np{/SaveX -currentpoint/SaveY X N 1 setlinecap newpath}N/st{stroke SaveX SaveY -moveto}N/fil{fill SaveX SaveY moveto}N/ellipse{/endangle X/startangle X -/yrad X/xrad X/savematrix matrix currentmatrix N TR xrad yrad scale 0 0 -1 startangle endangle arc savematrix setmatrix}N end - -%%EndProcSet -%%BeginFont: CMTT10 -%!PS-AdobeFont-1.1: CMTT10 1.00B -%%CreationDate: 1992 Apr 26 10:42:42 -% Copyright (C) 1997 American Mathematical Society. All Rights Reserved. -11 dict begin -/FontInfo 7 dict dup begin -/version (1.00B) readonly def -/Notice (Copyright (C) 1997 American Mathematical Society. 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slur@Dict begin /pss@rega 0 N /psc@rega 0 N /pst@rega 0 N end - 3522 1482 a eop -end -%%Trailer - -userdict /end-hook known{end-hook}if -%%EOF diff --git a/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/xtuplets.eps b/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/xtuplets.eps deleted file mode 100644 index 7be7bb7d1f7..00000000000 --- a/Master/texmf-dist/doc/generic/pmx/pmxccn/eps/xtuplets.eps +++ /dev/null @@ -1,1142 +0,0 @@ -%% LaTeX2e file `eps/xtuplets.eps' -%% generated by the `filecontents' environment -%% from source `pmxccn' on 2011/07/14. -%% -%!PS-Adobe-3.0 EPSF-3.0 -%%Creator: dvips(k) 5.90a Copyright 2002 Radical Eye Software -%%Title: xtuplets.dvi -%%CreationDate: Fri Apr 30 23:03:32 2004 -%%Pages: 1 -%%PageOrder: Ascend -%%BoundingBox: 28 658 567 798 -%%DocumentFonts: TeXMUSIX16-Regular CMTI8 CMTT10 TeXMUSIXSPX-Regular -%%+ CMBX12 -%%EndComments -%DVIPSWebPage: (www.radicaleye.com) -%DVIPSCommandLine: D:\MikTeX\texmf\miktex\bin\dvips.exe xtuplets.dvi -%DVIPSParameters: dpi=600, compressed -%DVIPSSource: TeX output 2004.04.30:2303 -%%BeginProcSet: texc.pro -%! -/TeXDict 300 dict def TeXDict begin/N{def}def/B{bind def}N/S{exch}N/X{S -N}B/A{dup}B/TR{translate}N/isls false N/vsize 11 72 mul N/hsize 8.5 72 -mul N/landplus90{false}def/@rigin{isls{[0 landplus90{1 -1}{-1 1}ifelse 0 -0 0]concat}if 72 Resolution div 72 VResolution div neg scale isls{ -landplus90{VResolution 72 div vsize mul 0 exch}{Resolution -72 div hsize -mul 0}ifelse TR}if Resolution VResolution vsize -72 div 1 add mul TR[ -matrix currentmatrix{A A round sub abs 0.00001 lt{round}if}forall round -exch round exch]setmatrix}N/@landscape{/isls true N}B/@manualfeed{ -statusdict/manualfeed true put}B/@copies{/#copies X}B/FMat[1 0 0 -1 0 0] -N/FBB[0 0 0 0]N/nn 0 N/IE 0 N/ctr 0 N/df-tail{/nn 8 dict N nn begin -/FontType 3 N/FontMatrix fntrx N/FontBBox FBB N string/base X array -/BitMaps X/BuildChar{CharBuilder}N/Encoding IE N end A{/foo setfont}2 -array copy cvx N load 0 nn put/ctr 0 N[}B/sf 0 N/df{/sf 1 N/fntrx FMat N -df-tail}B/dfs{div/sf X/fntrx[sf 0 0 sf neg 0 0]N df-tail}B/E{pop nn A -definefont setfont}B/Cw{Cd A length 5 sub get}B/Ch{Cd A length 4 sub get -}B/Cx{128 Cd A length 3 sub get sub}B/Cy{Cd A length 2 sub get 127 sub} -B/Cdx{Cd A length 1 sub get}B/Ci{Cd A type/stringtype ne{ctr get/ctr ctr -1 add N}if}B/id 0 N/rw 0 N/rc 0 N/gp 0 N/cp 0 N/G 0 N/CharBuilder{save 3 -1 roll S A/base get 2 index get S/BitMaps get S get/Cd X pop/ctr 0 N Cdx -0 Cx Cy Ch sub Cx Cw add Cy setcachedevice Cw Ch true[1 0 0 -1 -.1 Cx -sub Cy .1 sub]/id Ci N/rw Cw 7 add 8 idiv string N/rc 0 N/gp 0 N/cp 0 N{ -rc 0 ne{rc 1 sub/rc X rw}{G}ifelse}imagemask restore}B/G{{id gp get/gp -gp 1 add N A 18 mod S 18 idiv pl S get exec}loop}B/adv{cp add/cp X}B -/chg{rw cp id gp 4 index getinterval putinterval A gp add/gp X adv}B/nd{ -/cp 0 N rw exit}B/lsh{rw cp 2 copy get A 0 eq{pop 1}{A 255 eq{pop 254}{ -A A add 255 and S 1 and or}ifelse}ifelse put 1 adv}B/rsh{rw cp 2 copy -get A 0 eq{pop 128}{A 255 eq{pop 127}{A 2 idiv S 128 and or}ifelse} -ifelse put 1 adv}B/clr{rw cp 2 index string putinterval adv}B/set{rw cp -fillstr 0 4 index getinterval putinterval adv}B/fillstr 18 string 0 1 17 -{2 copy 255 put pop}for N/pl[{adv 1 chg}{adv 1 chg nd}{1 add chg}{1 add -chg nd}{adv lsh}{adv lsh nd}{adv rsh}{adv rsh nd}{1 add adv}{/rc X nd}{ -1 add set}{1 add clr}{adv 2 chg}{adv 2 chg nd}{pop nd}]A{bind pop} -forall N/D{/cc X A type/stringtype ne{]}if nn/base get cc ctr put nn -/BitMaps get S ctr S sf 1 ne{A A length 1 sub A 2 index S get sf div put -}if put/ctr ctr 1 add N}B/I{cc 1 add D}B/bop{userdict/bop-hook known{ -bop-hook}if/SI save N @rigin 0 0 moveto/V matrix currentmatrix A 1 get A -mul exch 0 get A mul add .99 lt{/QV}{/RV}ifelse load def pop pop}N/eop{ -SI restore userdict/eop-hook known{eop-hook}if showpage}N/@start{ -userdict/start-hook known{start-hook}if pop/VResolution X/Resolution X -1000 div/DVImag X/IE 256 array N 2 string 0 1 255{IE S A 360 add 36 4 -index cvrs cvn put}for pop 65781.76 div/vsize X 65781.76 div/hsize X}N -/p{show}N/RMat[1 0 0 -1 0 0]N/BDot 260 string N/Rx 0 N/Ry 0 N/v{/Ry X -/Rx X V}B/V{}B/RV statusdict begin/product where{pop false[(Display) -(NeXT)(LaserWriter 16/600)]{A length product length le{A length product -exch 0 exch getinterval eq{pop true exit}if}{pop}ifelse}forall}{false} -ifelse end{{gsave TR -.1 .1 TR 1 1 scale Rx Ry false RMat{BDot} -imagemask grestore}}{{gsave TR -.1 .1 TR Rx Ry scale 1 1 false RMat{ -BDot}imagemask grestore}}ifelse B/QV{gsave newpath transform round exch -round exch itransform moveto Rx 0 rlineto 0 Ry neg rlineto Rx neg 0 -rlineto fill grestore}B/a{moveto}B/delta 0 N/tail{A/delta X 0 rmoveto}B -/M{S p delta add tail}B/b{S p tail}B/c{-4 M}B/d{-3 M}B/e{-2 M}B/f{-1 M} -B/g{0 M}B/h{1 M}B/i{2 M}B/j{3 M}B/k{4 M}B/w{0 rmoveto}B/l{p -4 w}B/m{p --3 w}B/n{p -2 w}B/o{p -1 w}B/q{p 1 w}B/r{p 2 w}B/s{p 3 w}B/t{p 4 w}B/x{ -0 S rmoveto}B/y{3 2 roll p a}B/bos{/SS save N}B/eos{SS restore}B end - -%%EndProcSet -%%BeginProcSet: psslurs.pro -% This file can be used instead of psslurs.pro, it is only commented -% and indented. -% -% VERSION: 1.0 -% -% WARNING! This is a heavy magic! If you want something more understandable, -% you will have to write it yourself (if it is possible in a stack-oriented -% language that PostScript is). There are some constants you can -% change and see what happens, but I think the slurs should be almost -% always satisfiable. When not, let me know at: -% standa@hiero.cz -% Also any bug reports and comments are welcomed. -% -% Stanislav Kneifl. - -/slur@Dict 200 dict def - -% this dictionary is for \setslurtext, overriding some dvips's definitions -/temp@xx@dict 4 dict def temp@xx@dict begin - /a { moveto ax1 ay1 rmoveto } def - /V {gsave newpath transform round exch round exch itransform - exch ax1 add exch ay1 add moveto rulex 0 rlineto 0 ruley neg - rlineto rulex neg 0 rlineto fill grestore} def -end - -TeXDict begin -% get dimen from TeX's string ("125pt" -> 125 PS points) -/GD { dup length 2 sub 0 exch getinterval cvr 1.045 mul} def -% get dimen adjusted to Resolution -/GDAR { dup length 2 sub 0 exch getinterval cvr 4 AR mul 1.045 mul} def -% Adjust to Resolution -/AR { Resolution mul 300 div } def -% the distances in dvips's PostScript are resolution dependant! -end - -slur@Dict begin -/CP /currentpoint load def -/ED { exch def } bind def -/AR { Resolution mul 300 div } def % stands for Adjust to Resolution, -/VS { dup /ay1 exch ay1 exch linew mul 4 mul add def /ay2 exch ay2 exch linew mul 4 mul add def } def -/y { 3 2 roll ax1 ay1 rmoveto show moveto } def -/M { mul } def -/A { add } def -/SB { sub } def -/P { pop } def -/DP { dup } def -/R { roll } def - -/drawseg { 0 0 moveto - ax1 ay1 - ax1 0.6 mul ax2 0.4 mul add ay1 0.6 mul ay2 0.4 mul add - ax1 ax2 add 2 div ay1 ay2 add 2 div curveto - ax1 0.4 mul ax2 0.6 mul add ay1 0.4 mul ay2 0.6 mul add - ax2 ay2 - x2 0 curveto } def - -/DS { - AR /maxe ED - /ifadjust ED - /ifdash ED - AR /m ED % max height of the slur - /e ED % "angularity" of the slur; 0.1 = very angular, - % 0.3 = very round - /aa exch neg def % what to multiply the height with - % AFTER the max height checking - /y2 ED % y coordinate of the end of the slur - /x2 ED % x coordinate of the end of the slur - /y1 ED % y coordinate of the beginning of the slur - /x1 ED % x coordinate of the beginning of the slur - /yr2 ED - /yr1 ED - /internote ED - /x2 x2 x1 sub def % x2=x2-x1 - /y2 y2 y1 sub def % y2=y2-y1 - /sx y2 x2 div def - /b x2 300 mul Resolution div abs sqrt AR 2 mul def % b=2*sqrt(x2) - b 3 AR lt {/b 3 AR def} if % b=max(b,3) - b m gt {/b m def} if % b=min(b,m) - /aa b aa mul def % aa=aa*b - /s 90 x2 y2 atan sub def % s=90-arctan(x2,y2) slope of the slur - /aa aa s cos div def % aa=aa/cos(s) height of the slur - /x2 s neg cos x2 mul s neg sin y2 mul sub def % x2 = x2*cos(-s) - y2*sin(-s) - % is the length of the slur - e x2 mul maxe gt { /e maxe x2 div def } if - /beta e x2 mul aa neg atan def - beta 90 gt {/beta 180 beta sub def} if - /ax1 e x2 mul def % control points - /ay1 aa def - /ax2 1 e sub x2 mul def - /ay2 aa def - -% check if the starting and endin vector stay in desired quadrants -% => beta < abs(s) - beta s abs lt { - /b aa abs s abs 2 add sin mul s abs 2 add cos div def - s aa mul 0 lt { - s cos 0.75 lt { /ax1 ax1 b 1 s cos sub mul 0.5 mul sub def /ay1 ay1 s cos mul 0.8 mul def } if -% ^^^^ ^^^ ^^^ -% (values to play with) - /ax2 x2 b sub def - } - { - /ax1 b def - s cos 0.75 lt { /ax2 b 1 s cos sub mul 0.5 mul ax2 add def /ay2 ay2 s cos mul 0.8 mul def } if -% ^^^^ ^^^ ^^^ - } ifelse - } if - -% align the slur to the staff lines - - gsave - x1 y1 translate - s rotate -% [1 0 sx 1 0 0] concat - drawseg - gsave - initmatrix - flattenpath - pathbbox - exch pop - sub - /slh ED % in slh we have the height of the whole slur - pop - grestore - - /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def - /slh yr slh internote div aa 0 gt { add } { sub } ifelse 2 div def -% check if the slur gets too close to staff line - /shift 0 def - slh 4.45 lt slh -0.5 gt and { - /slh slh dup truncate sub def - slh 0 lt { /slh 1 slh add def } if - aa 0 gt { /slh 1 slh sub def } if - - % slh now contains the position ot the slur top/bottom in the space - % between the nearest staff lines (from <0,1>), regardless direction - - % slur is too low: - slh 0.45 lt { /shift 0.45 slh sub def } if - % slur is too high, but we can be shift it down: - slh 0.7 gt slh 0.85 lt and { /shift 0.7 slh sub def } if - % slur is too high, must be shifted up: - slh 0.85 ge { /shift 1.45 slh sub def } if - } if - - aa 0 gt { /shift shift neg def } if - - ifadjust 0 eq { - /shift 0 def - } if - - -% and finally draw it... - - grestore - gsave - /linew internote 0.06 mul AR def - linew 4 mul setlinewidth - 1 setlinecap - 0 setlinejoin - ifdash 1 eq - { [internote 8 mul AR internote 5 mul AR] 0 setdash } if - x1 y1 shift neg 2 mul internote mul 4 AR mul add translate - s rotate -% [1 sx 0 1 0 0] concat - -% uncomment this to see the control points -% 5 AR setlinewidth ax1 ay1 moveto 0.1 0 rlineto stroke -% ax2 ay2 moveto 0.1 0 rlineto stroke linew setlinewidth - - drawseg - 1 VS - drawseg - -2 VS - drawseg - x2 20 AR gt { - 3 VS - drawseg - } if - x2 50 AR gt { - -4 VS - drawseg - } if - x2 80 AR gt { - 5 VS - drawseg - } if - stroke - - grestore - - % now some \slurtext code... - - /x1 ax1 ax2 add 2 div def % middle of the slur - /y1 ay1 ay2 add 2 div def - x1 s cos mul y1 s sin mul add neg - y1 s cos mul x1 s sin mul sub - aa 0 lt {1} {0} ifelse - end - - % this is a hack to place the slurtext in the middle of the slur. - % From unknown reasons simple 'ax1 ay1 translate' did not work, - % so we have to overlay some definitions with our own, namely - % 'a', which is originally 'moveto' and 'V' for drawing rules. - % maybe there are some other operations that should be redefined, - % but for almost all cases this will be sufficient. 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This is a heavy magic! If you want something more understandable, -% you will have to write it yourself (if it is possible in a stack-oriented -% language that PostScript is). There are some constants you can -% change and see what happens, but I think the slurs should be almost -% always satisfiable. When not, let me know at: -% standa@hiero.cz -% Also any bug reports and comments are welcomed. -% -% Stanislav Kneifl. - -/slur@Dict 200 dict def - -% this dictionary is for \setslurtext, overriding some dvips's definitions -/temp@xx@dict 4 dict def temp@xx@dict begin - /a { moveto ax1 ay1 rmoveto } def - /V {gsave newpath transform round exch round exch itransform - exch ax1 add exch ay1 add moveto rulex 0 rlineto 0 ruley neg - rlineto rulex neg 0 rlineto fill grestore} def -end - -TeXDict begin -% get dimen from TeX's string ("125pt" -> 125 PS points) -/GD { dup length 2 sub 0 exch getinterval cvr 1.045 mul} def -% get dimen adjusted to Resolution -/GDAR { dup length 2 sub 0 exch getinterval cvr 4 AR mul 1.045 mul} def -% Adjust to Resolution -/AR { Resolution mul 300 div } def -% the distances in dvips's PostScript are resolution dependant! -end - -slur@Dict begin -/CP /currentpoint load def -/ED { exch def } bind def -/AR { Resolution mul 300 div } def % stands for Adjust to Resolution, -/VS { dup /ay1 exch ay1 exch linew mul 4 mul add def /ay2 exch ay2 exch linew mul 4 mul add def } def -/y { 3 2 roll ax1 ay1 rmoveto show moveto } def -/M { mul } def -/A { add } def -/SB { sub } def -/P { pop } def -/DP { dup } def -/R { roll } def - -/drawseg { 0 0 moveto - ax1 ay1 - ax1 0.6 mul ax2 0.4 mul add ay1 0.6 mul ay2 0.4 mul add - ax1 ax2 add 2 div ay1 ay2 add 2 div curveto - ax1 0.4 mul ax2 0.6 mul add ay1 0.4 mul ay2 0.6 mul add - ax2 ay2 - x2 0 curveto } def - -/DS { - AR /maxe ED - /ifadjust ED - /ifdash ED - AR /m ED % max height of the slur - /e ED % "angularity" of the slur; 0.1 = very angular, - % 0.3 = very round - /aa exch neg def % what to multiply the height with - % AFTER the max height checking - /y2 ED % y coordinate of the end of the slur - /x2 ED % x coordinate of the end of the slur - /y1 ED % y coordinate of the beginning of the slur - /x1 ED % x coordinate of the beginning of the slur - /yr2 ED - /yr1 ED - /internote ED - /x2 x2 x1 sub def % x2=x2-x1 - /y2 y2 y1 sub def % y2=y2-y1 - /sx y2 x2 div def - /b x2 300 mul Resolution div abs sqrt AR 2 mul def % b=2*sqrt(x2) - b 3 AR lt {/b 3 AR def} if % b=max(b,3) - b m gt {/b m def} if % b=min(b,m) - /aa b aa mul def % aa=aa*b - /s 90 x2 y2 atan sub def % s=90-arctan(x2,y2) slope of the slur - /aa aa s cos div def % aa=aa/cos(s) height of the slur - /x2 s neg cos x2 mul s neg sin y2 mul sub def % x2 = x2*cos(-s) - y2*sin(-s) - % is the length of the slur - e x2 mul maxe gt { /e maxe x2 div def } if - /beta e x2 mul aa neg atan def - beta 90 gt {/beta 180 beta sub def} if - /ax1 e x2 mul def % control points - /ay1 aa def - /ax2 1 e sub x2 mul def - /ay2 aa def - -% check if the starting and endin vector stay in desired quadrants -% => beta < abs(s) - beta s abs lt { - /b aa abs s abs 2 add sin mul s abs 2 add cos div def - s aa mul 0 lt { - s cos 0.75 lt { /ax1 ax1 b 1 s cos sub mul 0.5 mul sub def /ay1 ay1 s cos mul 0.8 mul def } if -% ^^^^ ^^^ ^^^ -% (values to play with) - /ax2 x2 b sub def - } - { - /ax1 b def - s cos 0.75 lt { /ax2 b 1 s cos sub mul 0.5 mul ax2 add def /ay2 ay2 s cos mul 0.8 mul def } if -% ^^^^ ^^^ ^^^ - } ifelse - } if - -% align the slur to the staff lines - - gsave - x1 y1 translate - s rotate -% [1 0 sx 1 0 0] concat - drawseg - gsave - initmatrix - flattenpath - pathbbox - exch pop - sub - /slh ED % in slh we have the height of the whole slur - pop - grestore - - /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def - /slh yr slh internote div aa 0 gt { add } { sub } ifelse 2 div def -% check if the slur gets too close to staff line - /shift 0 def - slh 4.45 lt slh -0.5 gt and { - /slh slh dup truncate sub def - slh 0 lt { /slh 1 slh add def } if - aa 0 gt { /slh 1 slh sub def } if - - % slh now contains the position ot the slur top/bottom in the space - % between the nearest staff lines (from <0,1>), regardless direction - - % slur is too low: - slh 0.45 lt { /shift 0.45 slh sub def } if - % slur is too high, but we can be shift it down: - slh 0.7 gt slh 0.85 lt and { /shift 0.7 slh sub def } if - % slur is too high, must be shifted up: - slh 0.85 ge { /shift 1.45 slh sub def } if - } if - - aa 0 gt { /shift shift neg def } if - - ifadjust 0 eq { - /shift 0 def - } if - - -% and finally draw it... - - grestore - gsave - /linew internote 0.06 mul AR def - linew 4 mul setlinewidth - 1 setlinecap - 0 setlinejoin - ifdash 1 eq - { [internote 8 mul AR internote 5 mul AR] 0 setdash } if - x1 y1 shift neg 2 mul internote mul 4 AR mul add translate - s rotate -% [1 sx 0 1 0 0] concat - -% uncomment this to see the control points -% 5 AR setlinewidth ax1 ay1 moveto 0.1 0 rlineto stroke -% ax2 ay2 moveto 0.1 0 rlineto stroke linew setlinewidth - - drawseg - 1 VS - drawseg - -2 VS - drawseg - x2 20 AR gt { - 3 VS - drawseg - } if - x2 50 AR gt { - -4 VS - drawseg - } if - x2 80 AR gt { - 5 VS - drawseg - } if - stroke - - grestore - - % now some \slurtext code... - - /x1 ax1 ax2 add 2 div def % middle of the slur - /y1 ay1 ay2 add 2 div def - x1 s cos mul y1 s sin mul add neg - y1 s cos mul x1 s sin mul sub - aa 0 lt {1} {0} ifelse - end - - % this is a hack to place the slurtext in the middle of the slur. - % From unknown reasons simple 'ax1 ay1 translate' did not work, - % so we have to overlay some definitions with our own, namely - % 'a', which is originally 'moveto' and 'V' for drawing rules. - % maybe there are some other operations that should be redefined, - % but for almost all cases this will be sufficient. If you find - % anything that won't be typeset at the correct position, let me know... - - temp@xx@dict begin - /dir exch def - /ay1 exch def - /ax1 exch def -} def - -% crescendos -/DC { - /y2 ED - /x2 ED - /y1 ED - /x1 ED - gsave - 1 AR ceiling setlinewidth % line thickness: this results - 1 setlinecap % to exactly 2 pixels in 300 dpi - 1 setlinejoin - x2 y2 10 AR add moveto % the 10's specify wideness of the - x1 y1 lineto % open end of the crescendo, - x2 y2 10 AR sub lineto % similarly the 11's below - stroke - grestore -} def - -% half crescendos -/DHC { - /y2 ED - /x2 ED - /y1 ED - /x1 ED - gsave - 1 AR ceiling setlinewidth - 1 setlinecap - 1 setlinejoin - x2 y2 11 AR add moveto - x1 y1 4 AR add lineto stroke - x1 y1 4 AR sub moveto - x2 y2 11 AR sub lineto - stroke - grestore -} def - -% differenced line - -/DLN { - gsave - GDAR ceiling setlinewidth - GDAR exch GDAR neg rlineto - stroke - grestore -} def - -% sloped line - -/DSLN { - gsave - GDAR ceiling setlinewidth - GDAR exch 1.125 mul neg rotate 0 rlineto - stroke - grestore -} def - -% free line (init & terminate) - -/DFLN { - gsave - GDAR ceiling setlinewidth - CP moveto - lineto - stroke - grestore -} def - -end - - -%%EndProcSet -%%BeginProcSet: texps.pro -%! 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-%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% -% ------------------------------------------------------ -% - % This version dated Thu 2012 Jan 19 /23:8 /ccn -% -% ------------------------------------------------------ - -\documentclass[11pt,twoside]{report} -\listfiles -% \usepackage[ten]{vrsion} - \usepackage[cp437]{inputenc} - \usepackage[english]{babel} - \usepackage{amsmath,index} - \usepackage[dvips]{graphicx} - \usepackage[dvips,colorlinks=true,linkcolor=red]{hyperref} - - \newfont{\hv}{phvbo at 14pt} - - \textheight 600pt \textwidth 450pt - \topmargin -10mm \headsep 10mm - \oddsidemargin 4mm \evensidemargin 0mm - \marginparwidth 3em - \fboxrule 2pt % standard in LaTeX article style is 0.4pt - \fboxsep 9pt % standard in LaTeX article style is 3pt - \hfuzz 2pt - - \setcounter{secnumdepth}{3} - \setcounter{tocdepth}{3} - -\renewcommand{\thechapter}{\Alph{chapter}} -\renewcommand{\thesection}{\thechapter~\arabic{section}} - -\newcommand{\MusiXTeX}{MusiX\TeX} -\newcommand{\MiKTeX}{MiK\TeX} -\newcommand{\PMX}{\textbf{PMX}} -\newcommand{\MTX}{\textbf{M-Tx}} -\newcommand{\bs}{\ensuremath\backslash} -\newcommand{\Example}{\noindent {\large \textbf{Example :} } - } -\newcommand{\Examples}{\noindent {\large \textbf{Examples :} } - } -\newcommand{\Note}[2][370pt]{\begin{center} \fbox{\begin{minipage}{#1} - #2 \end{minipage} } \end{center} - } -\renewcommand{\seename}{$\;\rightarrow\;$} - -\newcommand{\versionline}[1]{[\, Version \quad 2.618 - \quad Mar.\ 2012] - } -% \keepversion - -\makeindex -\newindex{myindex}{idx}{ind}{Index} -\begin{document} - \shortindexingon - - \pagestyle{headings} - \pagenumbering{Roman} - -\begin{titlepage} -\vspace*{4cm} -\begin{center} - {\Huge \textbf{Typesetting music with {\PMX} } \\[3ex] } - by \\[4ex] - {\LARGE Cornelius C.\ Noack} \\[1ex] - \hspace*{1em}\raisebox{-0.75ex}{\includegraphics{addresses/noack}} - -\vspace{2cm} - {\Large --- Version 2.8 / March 2012} \\ - {\large ({\PMX} features up to version 2.618 included)} -\end{center} - -\end{titlepage} - -% \newpage -% \vspace*{\fill} -\begin{center} - {\Large Acknowledgement} \\[3ex] - - \begin{minipage}{360pt} - This tutorial owes its very existence to the work by \emph{Luigi - Cataldi}, who a few years ago produced a wonderful manual for - {\PMX} in Italian. Luigi's manual features many examples which - help greatly in understanding some of the arguably arcane {\PMX} - notation. - - \medskip -_{manual!Cataldi's Italian {\PMX} manual} _{Cataldi, Luigi} - Even though the Cataldi manual is, as Don Simons has aptly - remarked, ``written in the language of music'', it nevertheless - seemed useful to have access to it for non-Italian speakers, so - Don asked around for help on a `retranslation'. - - \medskip -_{manual!Don Simons' manual for {\PMX}, Version 2.40} _{Simons, Don} - In fact, that is what the present tutorial started out with: - essentially a retranslation of the {\PMX} part of Luigis manual - back into English, using, where that seemed feasible, Don's - original {\PMX} manual. I had been thinking for some time of - producing some examples (and an index) for the updated ({\PMX} - 2.40) version of that manual, and now, taking Luigis italian - version as a basis, it seemed an easy thing to do. - - \medskip - Of course, as such projects go: soon after the first version had - appeared in 2002, it tended to get out of hand --- Don Simons - actively produced one new beta version of {\PMX} after the - other, and I simply could not keep up with his pace. - - \smallskip - So alas: 5 long years went by before the first update of - the tutorial -- reflecting all {\PMX} changes from Version 2.40 - to Version 2.514 , in one giant step! -- had become possible. - - But, incessantly, as the development of modern {\TeX} and - {\LaTeX} has moved on in an accelerating pace, and so have - {\MusiXTeX} and {\PMX}. This tutorial was also bound to - follow suite. So now the current status of {\PMX} - (\texttt{2.618}) and this tutorial are closely synchronized. - - \bigskip - After thanking Luigi, in particular for his kind permission to - use his version of the manual and its examples liberally, it - behooves me to thank Don even more, not only for originating and - continuously maintaining and improving {\PMX}; his suggestions - and continuous assistance in my work on this tutorial throughout - the years were invaluable, as was his conscientious reading and - improving, from the first draft to the present version. Many - friends (too numerous to mention all of them) kept me busy - trying to keep up with their productive suggestions and - clarifications on the - \href{mailto:tex-music@tug.org}{\underline{{\TeX}-music users' list}} - during the past years. - - \vspace*{\fill} - \begin{flushright} - {\hv In memoriam Daniel Taupin} - \end{flushright} - - \end{minipage} -\end{center} -\vspace*{\fill} - -\newpage\tableofcontents -\listoftables -\listoffigures -\cleardoublepage - -\pagenumbering{arabic} -\setcounter{page}{1} - -%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% -% PMX tutorial by ccn / chapter A starts here: -%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% -\chapter{Introduction} \label{sec:introduction} -\pagestyle{headings} - -\section*{How to use this tutorial} -\addcontentsline{toc}{section}{How to use this tutorial} -_{tutorial} - -The purpose and function of this tutorial is, actually, twofold: for the -novice with {\PMX}, it should be a readable guide to finding out what -{\PMX} does (and what it doesn't), how it is sensibly used, and what to -do when you run into difficulties. For the seasoned user, on the other -hand, it should serve as an extended {\PMX} manual, -\begin{enumerate} - \item giving a reasonably accurate account of \emph{all} the - available features in an order which should make it not too - tedious to find an answer to whatever question one might have, - \item indicating some of the more common uses of straight {\MusiXTeX} - commands to do things not available in {\PMX} directly. -\end{enumerate} - -\medskip -As a consequence of this twofold purpose, the two types of readers -should have two very different approaches: -\begin{description} - \item[The novice] should, after reading Section~\ref{sec:TeXetc}, - turn right to Section~\ref{sec:concepts} and \ref{sec:notes}. - After that you should get your fingers dirty as quickly as - possible: keep your first own {\PMX} file \verb#my_opus.pmx# as - simple as possible, and proudly produce your first print, - following the instructions given in Section~\ref{sec:running}. - From thereon follow your interests! - \item[The seasoned user] will usually need the tutorial mainly to find - out the exact usage of some commands he unforgiveably forgot - about, retrieve some rarely used procedure, or find some clever - gimmick that he never was aware of. Those people will first scan - the whole tutorial quickly in a matter of minutes to see what's - there and gloat about what's missing, and later on rely on the - index -- or look into authoritative source, the - \href{http://icking-music-archive.org/software/pmx/pmx260.pdf}% - {\underline{{\PMX} manual}} by Don Simons. -\end{description} - -_{Quick Reference Table} -Of course, once you have gotten acquainted well enough with {\PMX}, all -you'll ever need is Don Simons' ``Quick Reference Table''\,% -\footnote{The Quick Reference Table is found in the software section of - the \textbf{W}erner \textbf{I}cking \textbf{M}usic - \textbf{A}rchive as - \href{http://icking-music-archive.org/software/pmx/ref260.pdf}% - {\underline{\texttt{ref260.pdf}}}\,. - }. -That summarizes the {\PMX} symbols with all their options and always -reflects the latest version. Errors found in the -Quick Reference Table should be reported to Don Simons directly, whereas -all complaints (outright errors, awkward formulations, missed -subtleties) should be sent solely to the author. - -\bigskip -_{\PMX} -This tutorial refers to {\PMX} 2.618 , as of March 2012 -(formally still a `beta' version). For details on the -differences with previous versions consult the -\href{http://icking-music-archive.org/software/pmx/pmxbeta.html}{% - \underline{list of changes}} of \PMX\ in the software section of -the WIMA (``\textbf{W}erner \textbf{I}cking \textbf{M}usic -\textbf{A}rchive'')\,% -\footnote{For details on the staff-wise transposition feature refer to - \ref{sec:stafftranspos}. - }. - -\section{ {\TeX}, {\MusiXTeX}, {\PMX}, {\MTX} } \label{sec:TeXetc} -_{\TeX} _{\MusiXTeX} _{\PMX} _{\MTX} - - -{\MusiXTeX} is undoubtedly one of the best programs for typesetting -musical scores: it produces ready-to-print output in PostScript and PDF -format, it is stable, is continually updated, and is in the public -domain and thus \emph{totally free}. - -Nevertheless its use seems to be limited, with few exceptions, to -musicians coming from the world of science. {\MusiXTeX} does not `look -and feel' very intuitive, and it sometimes requires a familiarity with -terms that may seem elementary to software programmers but are tough -going for straight musicians. Furthermore, it is not WYSIWYG software -(\textbf{W}hat \textbf{Y}ou \textbf{S}ee \textbf{I}s \textbf{W}hat -\textbf{Y}ou \textbf{G}et). This means that while writing the music you -cannot immediately see the score as it will look when printed, because -you do not write the music graphically as you do by hand, but rather in -terms of a list of symbols that represent it. The system is not -interactive; rather, the process of producing a musical score consists -of several steps: \label{p:intoduction} - -\begin{enumerate} - \item One writes the symbols in a special version of the {\TeX} - language to a normal text file, using any text editor (such as - \textbf{Emacs}, \textbf{Edit} or \textbf{Notepad}), - \item this text file is compiled with {\TeX} to produce a - \texttt{.dvi} output file. This \texttt{.dvi} file is machine - readable and usually can be previewed on the screen, - \item another program, e.g.~\texttt{dvips}, produces a PostScript - file from the \texttt{.dvi} file, which again can be previewed - on the screen or sent directly to a suitable printer. -\end{enumerate} - -This symbolic and non-graphical nature of the program may discourage -many people, but it is in many ways an advantage. Being -fully aware of the symbolic character of the typesetting process while -working on your input lets you concentrate much better on the final -typographic output and keeps you from being distracted by the temptation -to play games with interactiveness. - -{\MusiXTeX} is a collection of `macro's that permits producing musical -scores with the help of {\TeX}, the prestigious electronic typesetting -program written by Donald Knuth, which is mainly used in scientific -typesetting. In providing {\TeX}, Knuth not only put it in the public -domain (to be freely distributed), but stipulated that any application -that uses {\TeX} should also be in the public domain and freely -available, without charge or royalty. -_{Knuth, Donald E.} - -_{{\TeX}} -Before {\TeX} can be used, it has to be properly installed on the -computer system at hand. Installing {\TeX} from scratch is not an easy -task; consult Chapter \ref{sec:installation} for the details. - -Even after everything is properly installed and running, coding a -musical score in the {\MusiXTeX} language still remains a tedious -process. Fortunately, there exist two preprocessors, {\PMX} and {\MTX}, -which dramatically simplify the input process; in fact they provide what -must be among the simplest possible systems of electronically encoding -musical scores. - -_{\MusiXTeX} _{\PMX} _{\MTX} -The first two bars of Mozarts \emph{piano sonata KV 545} illuminate the -difference in coding with either {\MusiXTeX}, {\PMX} or {\MTX}. The -codes given below for the three systems of software all produce the -(identical) output, shown in figure~\ref{fig:mozart}: - -\begin{figure}[!htb] - \begin{center} - \raisebox{-0.75ex}{% - \includegraphics[scale=.82]{eps/mozart.eps} - } - \end{center} - \caption{\textbf{W.A.\ Mozart}, \emph{Sonata K545}, bars 1--2} - \label{fig:mozart} -\end{figure} - -\bigskip\bigskip\noindent -_{\MusiXTeX} -{\MusiXTeX} : - -{\small -\begin{verbatim} -\input musixtex -\parindent10mm -\setname1{Piano} -\setstaffs12 -\generalmeter{\meterfrac44} -\nobarnumbers -\startextract -\Notes\ibu0f0\qb0{cge}\tbu0\qb0g|\hl j\en -\Notes\ibu0f0\qb0{cge}\tbu0\qb0g|\ql l\sk\ql n\en -\bar -\Notes\ibu0f0\qb0{dgf}|\qlp i\en -\notes\tbu0\qb0g|\ibbl1j3\qb1j\tbl1\qb1k\en -\Notes\ibu0f0\qb0{cge}\tbu0\qb0g|\hl j\en -\endextract -\end -\end{verbatim} -} - -\bigskip\noindent -_{\PMX} -{\PMX} : - -{\small -\begin{verbatim} -2 1 4 4 4 4 0 0 -1 1 20 0.12 -Piano -tt -./ -% Bars 1-2 -c8 g+ e g c- g+ e g | d g f g c- g+ e g Rb / -c2+ e4 g | bd4- c1 d c2 / -\end{verbatim} -} - - -\bigskip\noindent -_{\MTX} -{\MTX} : - -{\small -\begin{verbatim} -Style: piano -Piano: Voices MD MS; Clefs G G; Continuo -Name: Piano -Meter: 4/4 - -%% w120m -c2+ e4 g | b4d- c1 d c2 | -c8+ g+ e g c- g+ e g | d g f g c- g+ e g | -\end{verbatim} -} - -\bigskip -Not only is the {\MusiXTeX} much longer, it undoubtedly is less -intuitive and more complicated than the other two. - -\bigskip -In the present tutorial we shall describe in detail the usage of {\PMX} -and, in a very cursory way, that of {\MTX}. - -_{\MusiXTeX} _{\PMX} _{\MTX} -In the remaining part of this introduction, we treat questions of -installation of the entire system of {\MusiXTeX}~\texttt{1.15} and -{\PMX}. The whole installation procedure may seem a formidable task to -non-experts. But don't despair: your efforts will be rewarded by the -best and simplest system of musical typesetting available. And, to -paraphrase a famous {\TeX} error message: ``If in serious trouble, ask a -wizard for help''. Such wizards are literally at your fingertips; just -sign up and post your problem to the mailing list at ^{WIMA} (the -\textbf{W}erner \textbf{I}cking \textbf{M}usic \textbf{A}rchive), -and someone is bound to be in the mood to answer. - -\section{Installation} \label{sec:installation} -_{Installation} - -Recently, there has been a number of major improvements in the basic -{\MusiXTeX}~\texttt{1.15} software (increasing, e.g., the maximum number -of instruments allowed), and subsequently {\PMX} has also undergone -major improvements. As a consequence, {\PMX} now is really tuned to -\texttt{\MusiXTeX}~\texttt{1.15}: with {\PMX}\texttt{(2.6xx)} you can -make full use of most% -\footnote{An important restriction is: in \PMX\texttt{(2.6xx)} the - maximum number of staves is 24 . - } -of the new features of {\MusiXTeX}~\texttt{1.15}. - -\medskip -The installation instructions given here refer explicitly to installing -{\MusiXTeX}~\texttt{1.15} and {\PMX} under Windows XP; they assume that -you have MiKTeX\,% -\footnote{MikTeX is a {\TeX} system for Microsoft Windows users. - } -installed (version 2.6 or higher; preferably the current -version 2.9 ; cf.\ p.~\pageref{p:tennent}). - - -For Unix, good instructions can be found in the software section of -WIMA: \\ \quad \href{http://icking-music-archive.org% - /software/musixtex/musixtex-for-unix.html}% - {\underline{\texttt{Icking-music-archive.org% - /software/musixtex/musixtex-for-unix.html}}}~. \hspace*{\fill} - - -% \pagebreak -\subsection*{Installation of \MusiXTeX\texttt{~115} - and {\PMX} \texttt{2.6xx} } - -\subsubsection*{\MusiXTeX}~\texttt{1.15} -You can download the basic distribution for {\MiKTeX}~115 from WIMA: - -% \smallskip -\href{http://icking-music-archive.org/software/musixtex/musixtex.zip}% - {\underline{\texttt{icking-music-archive.org/software/musixtex/musixtex.zip}}} . - -\medskip -A comprehensive -- and very readable -- installation instruction manual -for {\MusiXTeX}\texttt{~115} has recently been given by Andre van -Ryckeghem and Don Simons: \\ -\hspace*{\fill} -\verb#http://icking-music-archive.org/software/musixtex/mxinsuse.pdf# -\hspace*{\fill} \\ -on the WIMA software page, which you can download -\href{http://icking-music-archive.org/software/pmxtricks/mxinsuse.pdf}% - {\underline{here}}. \\ -\noindent -Even if you consider yourself an expert in installing high-level -software, it is certainly wise to first read this manual carefully -(it's only 6 pages) before starting the installation this way. - -% \medskip -% One point, pointed out explicitly in the {\MusiXTeX}~\texttt{1.15} installation -% manual, is of particular importance: -% -% \Note{As Don Simons has pointed out, it is safer to load -% {\MusiXTeX}~\texttt{1.15} (and all its subfolders, of course) -% \emph{completely outside} of where {\MiKTeX} is loaded. But -% whether you do that or load {\MusiXTeX} in a subfolder of -% {\MiKTeX} (traditionally named `\texttt{localmiktex}'), you must -% enter the full name of the {\MusiXTeX} main folder in the 'roots' -% list of the {\MiKTeX} `settings' menu; otherwise {\MiKTeX} will -% not be able to access any of the files. -% } - -\bigskip \bigskip -The installation procedure referred to above has the -advantage that it does not rely on the TDS-compliant -data structure of the CTAN (`\textbf{C}omprehensive -\textbf{T}eX \textbf{A}rchive \textbf{N}etwork) -distribution and, a fortiori, on the MikTeX data system -being up-to-date with the development of {\MusiXTeX}. -For many years, this was a serious obstacle against -making comfortable use of CTAN , and thus of MikTeX as -well. - -\medskip -\label{p:tennent} -This has changed drastically in the last few years. As -of 2012, the {\MusiXTeX} software of WIMA is formally -maintained by CTAN as well, and in consequence, -MikTeX is now pledged to be updated with the CTAN data within a -few months at most. In particular, with its current version -(MikTeX 2.9) MikTeX now fully supports {\PMX} 2.603 . - -\medskip -So if you have MikTeX 2.9 installed, all you need to -install {\MusiXTeX}~\texttt{1.15} is to download -\begin{center} - \href{http://mirrors.ctan.org/macros/musixtex/musixtex-texmf.zip}% - {musixtex/musixtex-texmf.zip} -\end{center} -and follow the (terse, but clear) -\href{http://mirrors.ctan.org/macros/musixtex/musixtex-install.pdf}% - {\underline{Installation instructions}} -by Bob Tennent. - -\bigskip -\medskip\noindent -To test the {\MusiXTeX}~\texttt{1.15} installation, download -\href{http://icking-music-archive.org/software/pmxtricks/sample.zip}% - {\underline{sample.zip}} -from WIMA to some temporary folder and unzip it, obtaining the 3 files -\verb#sample.tex#~, \verb#sample.pmx#~, and \verb#pmxrun.bat#~. Then run \\ -\hspace*{10ex} -\verb#etex sample.tex# \\ -in a command line. - -\Note{Make sure that when using basic {\TeX} you \emph{always} run - \texttt{etex.exe} (`extended {\TeX}') and \emph{not} - \texttt{tex.exe} !! Although {\MiKTeX} and {\LaTeX} now use - extended {\TeX} by default, the 2 commands \texttt{tex.exe} and - \texttt{etex.exe} still both exist and \emph{differ}; - {\PMX}~\texttt{2.6xx}, will not run properly under ordinary - \texttt{tex.exe} . - } - -\subsubsection*{\PMX} - -\noindent -Compared to {\MusiXTeX}~\texttt{1.15}, installing {\PMX} 2.6 is a cinch. -All you need to do is -\begin{enumerate} - \item decide which particular version of the \PMX\ 2.6 series you - need: 2.603 is by now almost standard; the new version 2.617 has - a very important new feature regarding - transposing instruments, and 2.618 allows - adjusting the size of the {\PMX} output - automatically to the paper size used\,% - \footnote{remember that formally {\PMX} is still `beta' . - }, - \item download - \href{http://icking-music-archive.org/software/pmx/pmx2618.zip}% - {\underline{pmx 2.618.zip}} - (or another \texttt{2.6xx}) and unzip it, - \item copy \verb#pmxab.exe# and \verb#scor2prt.exe# - to \verb#...\localmixtex\miktex\bin# , - \item copy \verb#pmx.tex# to - \verb#...\localmixtex\tex# , - \item run the {\MiKTeX} FNDB (`\texttt{F}ile - \texttt{N}ame \texttt{D}ata \texttt{B}ase') . -\end{enumerate} - -\medskip\noindent -To test the installation, run \\ - \hspace*{10ex} \texttt{runpmx sample.pmx} \\ -in a command line. - - - -\section{Authors of the Software} \label{sec:authors} -_{authors} - - -\begin{description} - \item[{\MusiXTeX}:] \emph{Daniel Taupin} - _{Taupin, Daniel} - - \href{http://icking-music-archive.org/software/indexmt6.html}% - {\underline{\MusiXTeX}} evolved from Music{\TeX} by - \emph{Daniel Taupin}, a physicist in the Laboratoire de Phisique - des Solides in Orsay, \emph{Ross Mitchell} (CSIRO Division of - Atmospheric Research, Private Bag No.1, Mordialloc, Victoria - 3195, Australia) and \emph{Andreas Egler} (Ruhr--Uni--Bochum, - Ursulastr. 32, D-44793 Bochum). - - {\MusiXTeX} had been maintained actively and conscientiously by - Daniel Taupin until his untimely death in 2001 --- he died - accidentally while climbing in the Alps. He is remembered with a - \href{http://icking-music-archive.org/Memorial/Taupin% - /Statements.html}{\underline{Memorial}} - on the web page of the Werner Icking Music Archive. - - After Taupins death, {\MusiXTeX} seemed quite stable and could - thus, for all practical purposes, be considered `frozen' for a - long time. - - However, nothing as lively as {\MusiXTeX} can really remain - literally frozen forever. A number of improvements have - been continuously added by a group of {\MusiXTeX}perts, and, - finally, Hiroaki Morimoto has kindly provided a new version - of {\MusiXTeX} which corrects known bugs. Then a new and - \emph{strongly enhanced version} of the {\MusiXTeX} manual was - prepared by a group led by Don Simons, which has now been - officially released: {\MusiXTeX}~\texttt{1.15} . It is located - at the - \href{http://icking-music-archive.org/software/indexmt6.html#musixtex}% - {software section} of the Werner Icking Music Archive - (dubbed `WIMA'). - - \bigskip - Finally, here is a list of the authors of essential parts of - {\PMX} and related software: - - \item[{\PMX}:] - \emph{Don Simons} -_{Simons, Don} _{\PMX!author} - - E-mail: \raisebox{-1.0ex}{% - \includegraphics[scale=0.7]{addresses/dsimons} - } - - \item[{\MTX}:] - \emph{Dirk Laurie} -_{Laurie, Dirk} - - E-mail: \raisebox{-1.0ex}{% - \includegraphics[scale=0.75]{addresses/dlaurie} - } - - \item[Musixlyr and Musixser:] - \emph{Rainer Dunker} -_{Dunker, Rainer} - - E-mail: \raisebox{-1.0ex}{% - \includegraphics[scale=0.72]{addresses/rdunker} - } - - \item[PostScript slur package K:] - \emph{Stanislav Kneifl} -_{Kneifl, Stanislav} - - E-mail: \raisebox{-1.0ex}{% - \includegraphics[scale=0.7]{addresses/skneifl} - } - - \item[PostScript slur package M:] - \emph{Hiroaki Morimoto} -_{Morimoto, Hiroaki} - - E-mail: \raisebox{-1.0ex}{% - \includegraphics[scale=0.7]{addresses/hmorimoto} - } -\end{description} - -\section{The Werner Icking Music Archive} \label{sec:Icking} -_{WIMA} _{Werner Icking Music Archive|see{WIMA}} _{Icking, Werner} - -\textbf{Werner Icking} (June 25, 1943 -- February 8, 2001) was the -founder of the \emph{GMD Music Archive}, which contained downloadable -scores, various {\MusiXTeX} programs, a discussion list, and various -other musical resources in the public domain. His contributions to the -development and promulgation of this software were peerless. His -editions of music (in particular the edition of the complete `Urtext' of -J.S.\ Bach's pieces for violin and violoncello solo) are examples of -sophisticated technique, artistic sensibilty and philological -meticulousness. Everybody, whether expert programmer or complete novice, -would always find valid and unselfish advice from him, which invariably -ended with the motto ``\emph{hope this hilft}''. In time a small, but -regular group of faithfuls gathered around this site, from all over the -world, who never had met Werner in person, but nevertheless came to see -a friend in him, mainly through frequent email exchanges. - -Werner died suddenly on February 8, 2001, while bicycling home from -work, as was his regular habit. That very day he had performed -maintenance work for the site and replied to messages on its discussion -list, of which he had been the main administrator. The community of -users of the archive decided not to disband, but to continue Werner's -work. Starting with the contents of the GMD Archive, a new site was -created, and dedicated to Werner's memory. It's official name is the -\emph{Werner Icking Music Archive}. - -After some difficult times, it is now hosted by \quad - \href{http://www.pait.dk}{\texttt{PALDAM IT}} ; -its URL is \\ -\hspace*{\fill} \href{http://icking-music-archive.org}% - {\texttt{http://icking-music-archive.org}}\,. \hspace*{\fill} \\ -Its chief administrator is Christian Mondrup, -_{Mondrup, Christian} -who more than any other provided reasoned guidance and continuity during -the difficult transition. - -\bigskip -The archive houses four main categories of information: - - \label{p:Icking} -\begin{description} - \item[Archive of sheet music]: Contains hundreds of royalty-free - scores in PDF, many with their source code in {\MusiXTeX}, - {\PMX}, or {\MTX}. It is maintained by \emph{Christian Mondrup}, - who is also the main administrator of the Werner Icking Music - Archive \\ - E-mail: - \raisebox{-1.0ex}{% - \includegraphics[scale=0.72]{addresses/cmondrup} - } . -_{Mondrup, Christian} - \item[{\MusiXTeX} and related software]: Contains {\MusiXTeX} and - related software, as well as user manuals and various add-ons. It - is maintained by \emph{Don Simons} \\ - E-mail: - \raisebox{-1.0ex}{% - \includegraphics[scale=0.72]{addresses/dsimons} - } . -_{Simons, Don} - \item[{\TeX}-music list]: -_{{\TeX}-music users' list} - This discussion list is invaluable to novices, advanced users and - developers. Themes focus on technical problems of typesetting - using {\MusiXTeX} and related software, but often drift into - other musical subjects of historic or esthetic interest. It is - not moderated, but you need to subscribe in order to participate. - For information on how to subscribe, visit~ - \href{http://icking-music-archive.org/mailman/listinfo/tex-music}% - {\texttt{http://icking-music-archive.org/mailman/listinfo/tex-music\/}}~. - Its administrator is \emph{Maurizio Codogno} (E-mail - \raisebox{-1.2ex}{% - \includegraphics[scale=0.80]{addresses/mcodogno} - }$\!\!$). -_{Codogno, Maurizio} - \item [Links to other sources of information regarding music:] - There are links to search facilities about - composers/works/editions, a multi-lingual - glossary of musical terms, and some lists of - composers' works. This is maintained by - \emph{Jean-Pierre Coulon}: - - \hspace*{10em} - E-mail: \raisebox{-1.0ex}{\includegraphics[scale=0.72]% - {addresses/jpcoulon} - } -_{Coulon,Jean-Pierre} - - \bigskip\bigskip - As of 2012, ({\MusiXTeX} / \PMX) is coordinated - with \textbf{CTAN}, thus ensuring that - \textbf{CTAN} is up to date with ({\MusiXTeX}. - - \medskip\noindent - This coordination with \textbf{CTAN} is - maintained by \emph{Bob Tennent}. - - \hspace*{10em} - E-mail: \raisebox{-1.0ex}{\includegraphics[scale=0.72]% - {addresses/btennent} - } -_{Tennent,Bob} - -\end{description} -%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% -% PMX tutorial by ccn / chapter B starts here: -%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% - -\chapter{A {\PMX} Tutorial} \label{sec:GuidePMX} \section*{Conventions -for this tutorial} \label{sec:conventions} -\addcontentsline{toc}{section}{Conventions for this tutorial} -_{tutorial!conventions of this tutorial} - -\renewcommand{\thefootnote}{\fnsymbol{footnote}} -\hspace*{\fill}\begin{minipage}[b]{200pt} - ``Hey, this is boring stuff, but if you take a - minute to understand the typographic conventions - and a little jargon, it may avoid some confusion - down the road.''\,% - \footnotemark[2] - \end{minipage} -\footnotetext[2]{Quoted literally from the original introduction to - {\PMX} by its author, Don Simons. } -\renewcommand{\thefootnote}{\arabic{footnote}} - -\paragraph{Typographical conventions:} -\begin{itemize} - \item The \texttt{typewriter} typeface always indicates verbatim text - \emph{exactly as you would input it to the computer}. This - includes file names, {\MusiXTeX} tokens, and {\PMX} commands, - e.g., \verb#barsant.pmx, \internote, c44# . - \item \textbf{bold} typeface is used for two purposes: first, for - program names (e.g.~\textbf{pmxab}), and second, when applied - to a single letter within a normal word, to emphasize the - mnemonics of a {\PMX} command (e.g.~\texttt{lr} signifies a - ``\textbf{l}eft-\textbf{r}ight repeat''). - \item When used in commands, \emph{italics} represent input - variables for which the user would substitute the appropriate - actual value. To make this notation quite clear -- and distinct - from the general use of italics for emphasis -- , the variable - will be surrounded by square brackets in such cases (e.g.\ - \texttt{L[}$n$\texttt{]P[}$m$\texttt{]M} ), but \emph{the - brackets are not to be included with the verbatim text}. -\end{itemize} - -\paragraph{Musical terms:} \text{} \\ -The language of music is Italian, and so the radical solution of -terminological problems would be to use the Italian names throughout. -This would, however, defeat the whole purpose of this tutorial, so some -compromises need to be made, and some terms, which may be used -differently by different people, need to be clearly defined. So in this -tutorial -\begin{itemize} - \item -_{staves} - a \emph{staff} (plural \emph{staves}) means the set of 5 - horizontal lines in which music is usually notated, aptly - called a \emph{pentagramma} in Italian\,% - \footnote{Note that one-line staves, used for percussion - instruments (drums, triangles etc.), are presently - not implemented in {\PMX}. - }. - \item a \emph{system} means a coherent set of staves to be played - simultaneously. - \item -_{voice} - a \emph{voice} means a line of music that is a musical entity - of its own, such as a melody. In polyphonic music, there is - often more than one voice to a staff, e.g.~a 4-voice Bach - choral is often written with the 2 top voices (soprano, alto) - in one staff, the bottom ones (tenor, basso) in the other\,% - \footnote{ {\PMX} allows 1 or 2 voices in one staff. }. -\end{itemize} - -\paragraph{technical terms:} \text{} \\ -\begin{itemize} - \item a \emph{system} means a coherent set of staves to be played - simultaneously. - \item a \emph{block} is the series of PMX commands WITHIN ONE SYSTEM, - formally >ended be a / (slash), which then must be the LAST - CHARACTER on this input line\,% - \footnote{This often precludes even \TeX\ comments (started - with a \%) on the same line, after the slash! - - \PMX\ does not check for compliance with this rule, - but nevertheless it is good practice to adhere to it. - Otherwise you a liable to encounter weird errors - which may be difficult to trace. - }. -\end{itemize} - - -\section{Running {\PMX}} \label{sec:running} -_{\PMX!running {\PMX}} - -As stated in the introduction (cf.~Section~\ref{sec:introduction}), -{\PMX} is a \emph{preprocessor} to {\MusiXTeX}. That means that with -{\PMX} the sequence of steps from the input to the printed paper is one -step longer: -\begin{enumerate} \setcounter{enumi}{-1} - \item The user writes \emph{the symbols of the {\PMX} language} to a - normal text file, using any text editor. The name of this file, - ( say, \verb#my_opus.pmx#) \emph{must have the suffix} - \texttt{pmx}, - \item the file \verb#my_opus.pmx# is run through the {\PMX} processor, - \textbf{pmxab}. -_{\textbf{pmxab}} - This produces the output file \verb#my_opus.tex#, \\[2ex] - \fbox{\begin{minipage}{390pt} - Note that in {\PMX} (like in Unix, but unlike Windows) - spaces within a file name are \emph{not allowed}! If in - the above example, the input file name were \texttt{my - opus.pmx} instead of \texttt{my\underline{\;}opus.pmx}, an - unpredictable error, with confusing error messages, would - occur. - \end{minipage} - } - - \item the file \verb#my_opus.tex# is then processed with {\TeX} to - produce a \texttt{.dvi} output file\,% - \footnote{This step is a bit more complicated than it sounds - because it actually is a 3 pass system: it consists of - (i) running {\TeX}, (ii) running ^{\textbf{musixflx}}, - and (iii) running {\TeX} again (details on the - rationale behind this are described in the {\MusiXTeX} -_{Taupin, Daniel} - manual by Daniel Taupin). - }. - This \texttt{.dvi} file is machine readable and (usually) can be - previewed on the screen, - \item another program, e.g.~\texttt{dvips}, produces a PostScript file - from the \texttt{.dvi} file, which again can be previewed on the - screen, or sent directly to a suitable printer. -\end{enumerate} -Usually this whole process is automated to some degree by the use of a -so-called `script' or `batch' file, or with the help of some more -elaborate system of interconnecting software (most of these tuned to the -needs of the general {\TeX} community). -_{\PMX!running {\PMX}} - -\medskip -There are too many variants of this kind of supporting software -- public -domain or commercial -- to discuss here, and personal preferences or -dispositions are too varied. If you are at a loss on what to use, send a -message to the {\TeX}-music list (cf.~p.\pageref{p:Icking}), and you -can trust that you get all the individual help you need. -_{{\TeX}-music users' list} - -\begin{table}[!htbp] -\begin{center} -\begin{minipage}{380pt} - \small -\begin{verbatim} -:::::::::::::::::::::::: runpmx.bat :::::::::::::::::::::::: -Call C:\Programme\MikTeX_2.9\localmiktex\miktex\bin\pmxab %1.pmx -if errorlevel 1 goto pmxerr -if exist %1.pml del %1.pml -if exist %1.mx2 del %1.mx2 -if exist %1.mx1 del %1.mx1 -if exist pmxaerr.dat del pmxaerr.dat -:: -Call C:\Programme\MikTeX_2.9\miktex\bin\etex.exe %1.tex -if errorlevel 1 goto texerr -:: -Call C:\Programme\MikTeX_2.9\localmiktex\miktex\bin\musixflx.exe %1.mx1 -:: -Call C:\Programme\MikTeX_2.9\miktex\bin\etex.exe %1.tex -if errorlevel 1 goto texerr -if exist %1.log del %1.log -:: -Call C:\Programme\MikTeX_2.9\miktex\bin\dvips.exe %1.dvi -if errorlevel 1 goto dvierr -if exist %1.log del %1.log -:: -Call C:\Programme\GhostScript\Ghostgum\gsview\gsview32.exe %1.ps -:: -goto :end -::::::::::::::::::: -:: error exits : -:: -:pmxerr -echo. -echo PMX has found errors when processing %1.pmx ! -echo. -pause -goto :end -:: -:texerr -echo. -echo TeX has found errors when processing %1.tex ! -echo check %1.log for details. -echo. -pause -goto :end -:: -:dvierr -echo. -echo *** dvips had errors ! *** -echo. -pause - -:: -:end -:::::::::::::::::::: end of runpmx.bat :::::::::::::::::::: -\end{verbatim} -\end{minipage} -\end{center} - \caption{An example of a batch file for running {\PMX}} - \label{tab:runpmx} -\end{table} - -\bigskip -To illustrate the above process, however, an example for a typical -`batch' file, for a standard \textbf{Windows} system, is given in -table (\ref{tab:runpmx}). This assumes that you have installed -\begin{enumerate} - \item a ^{\MiKTeX} system, - \item a {\MusiXTeX} system, - \item a \texttt{dvips} system, -\end{enumerate} -all installed in the standard way, and that you have produced the {\PMX} -input file \verb#my_opus.pmx#, using your favorite ASCII text editor. - -You would then run -\begin{center} - \verb#runpmx my_opus# -\end{center} -on a command line, and would see a Ghostview window opening, from which -you could print your opus (or do with it whatever you like). - -\bigskip -You perhaps will want to write your own batch program\,% -\footnote{The \texttt{runpmx.bat} given in Table \ref{tab:runpmx} is - identical with the \texttt{runpmx.bat} used in the installation - guide (Section \ref{sec:installation}). - - When adapting this to your needs or writing your own batch - file altogether, you should make sure that you use - \texttt{etex.exe} in the 3 calls of {\TeX}. - {\MusiXTeX}-\texttt{T115} and {\PMX} texttt{2.6xx} both - require e{\TeX} (extended {\TeX})! - }, to suit your personal requirements. Some further remarks on -how \textbf{pmxab} -_{\textbf{pmxab}} operates may prove helpful for that. - -\medskip -First, whenever \textbf{pmxab} -_{\textbf{pmxab}} -terminates due to a syntax error, the exit code is set 1 (0 when there -are no errors). There are various ways of detecting this with batch -commands, and then acting accordingly. - -\medskip -Second, \textbf{pmxab} -_{\textbf{pmxab}} -always writes a file \texttt{pmxaerr.dat} -_{\texttt{pmxaerr.dat}} -containing a single number: 0 if it exited normally, otherwise the line -number in the \texttt{.pmx} file where the syntax error was. With -advanced batch programming techniques, this file can be opened and read, -and if there was an input error, a text editor can be opened and the -input point placed on the line with the error. - -\bigskip -There have been several requests to allow {\PMX} to keep running even -after it detects an input error. This has not been done because in most -cases, any error messages after the first one would be meaningless, or -worse, uncorrected errors could cause crashes. In any event, all the -output from \textbf{pmxab} -_{\textbf{pmxab}} -will be stored in the log file [\emph{filename}]\texttt{.pml}. - -\newpage -\subsection{Concatenating several files} \label{sec:concatfiles} -_{\PMX!concatenating several files} - -Sometimes one wants to split the work on a score into several smaller -parts, not only when otherwise you would exceed some {\PMX} numerical -limit (cf.~Section~\ref{sec:limits}), but simply for practical reasons. -Logically, one should distinguish two separate cases: -\begin{enumerate} - \item Within \emph{one and the same {\PMX} program}, there might be - parts that recur identically in several regions of the full code, - and one would not want to retype these over and over again (both - for efficiency and for clarity reasons). In such cases, you - would want to have a command similar to the \verb#\input# of - {\TeX}, {\LaTeX} and many other programming languages. - - In {\PMX}, such an `\verb#\input#' command has the form - \verb#AR[#\emph{file name}\verb#]#, where \emph{file name} is - the name of the (ASCII) file you want to include, and - \verb#AR[#\emph{file name}\verb#]# will insert this file - at exactly that point in your {\PMX} program where the - \verb#AR[#\emph{file name}\verb#]# is.\,% - - \begin{quote} - A possible use for this procedure, i.e.\ using the \texttt{AR} - command, could be to save typing when you want to include your - favorite option defaults that in fact you use in almost every - piece of music you write with {\PMX}. - - But a simple ``cut \& paste'' is arguably a quite practical - and more straightforward way of achieving this goal; moreover, - if you want to be fancy about it, {\PMX} has a much more - sophisticated tool to offer for that purpose\,% - \footnote{In fact, there is yet another fancy tool, - i.e.\ including a `global' file with the specific - name \texttt{pmx.mod} , useful for special purposes. - For details on this, refer to the {\PMX} manual. - }, - viz.\ a macro (cf.\ Sec.~\ref{sec:macros}). - \end{quote} - - \item Sometimes may have reason to make several - completely independent {\PMX} files, producing their output - separately. In the end, you would want to concatenate these - pieces again. This can be easily done: - - \medskip - Suppose you have coded the three movements of a piano sonata in - three separate {\PMX} files: \verb#son1.pmx#, \verb#son2.pmx# - and \verb#son3.pmx#. To create one single file from these, - proceed as follows: - \begin{enumerate} - \item Process the three files \verb#.pmx# separately, - obtaining the three files \verb#son1.tex#, - \verb#son2.tex# and \verb#son3.tex# , - \item Create a {\TeX} file \texttt{son.tex} consisting of the - following lines: - \begin{verbatim} - \input musixtex - \startmuflex - \let\startmuflex\empty - \let\endmuflexsav\endmuflex - \let\endmuflex\endinput - \input son1 - \input son2 - \input son3 - \endmuflexsav - \bye - \end{verbatim} - \item Process the file \verb#son.tex# , in the usual three - passes ({\TeX}~$\Longrightarrow$ \texttt{musixflx} - $\Longrightarrow$ {\TeX}). The resulting file - \verb#son.dvi# then contains the full score of the - entire sonata. - \end{enumerate} -\end{enumerate} - -\medskip -Alternatively, you can concatenate the files using {\LaTeX}, or more -specifically, the \textbf{mtxlatex} package. For details on this -see Section~\ref{sec:LaTeX}. -_{\LaTeX} _{\textbf{mtxlatex}|see{\LaTeX}} _{\LaTeX!interface with \PMX} - -\vfill\begin{figure}[!htbp] - \begin{center} - \raisebox{-0.75ex}{% - \includegraphics[scale=.82]{eps/Haydn.eps} - } - \end{center} - \caption{\textbf{F.J.\ Haydn}, - \emph{quartet Op.76, no.2}, bars 1--4 - } - \label{fig:Haydn} -\end{figure} -\label{p:Haydn} - -\begin{table}[!htb] -\begin{minipage}{380pt} -\small -\begin{verbatim} -F.J.\ Haydn, Quartet op.76, no.2, bars 1--4 -PREAMBLE: -nstaves ninstr mtrnuml mtrdenl mtrnump mtrdenp - 4 4 4 4 0 6 -npickup nkeys - 0 -1 -npages nsystems musicsize fracindent - 1 1 16 .08 -Violoncello -Viola -Violin II -Violin I -batt -./ -% BODY: -% HEADER: -Tc -F.J. Haydn -Tt -String Quartet op. 76, No.2 -h -Allegro -Abep -w170m -% begin of music input - -% bar 1 -d82 Df o. d+ o. d o. d o. r d o. d o. d o. / -f83 Df o. f o. f o. f o. r f o. f o. f o. / -r8 a83 Df o. a o. a o. r a o. a o. a o. / -a24 Df d- / - -% bar 2 -r8 d o. d o. d o. r e o. e o. e o. / -r8 g o. g o. g o. r g o. g o. g o. / -r8 b o. b o. b o. r cs o. c o. c o. / -e2 a- / - -% bars 3-4 -f8 s e f cs s d4 a | b2 s a4 s o. r Rb / -a2 t a4 t .cs- | d8 s e f d s e4 o. r / -d8 s cs d e s e s d c s a1+ s g s | f s g f e s d8 o. d o. cs4 r / -d8 s cs d e s g s f e s a | d4- zd+ cn1 s b a gs s a4 o. r / -% end of PMX source file -\end{verbatim} -\end{minipage} - \caption{{\PMX} source for excerpt of F.J.\ Haydn quartet} - \label{tab:Haydn} -\end{table} - -\section{Preliminary Concepts} \label{sec:concepts} - -_{comments} -The {\PMX} code of a musical score consists of two parts, the -\emph{preamble} and the \emph{body}. Lines with a \% in column 1 are -comment lines (as in {\TeX}); they are disregarded by the program\,% -\footnote{Note, however, the additional conventions of - the \textbf{scor2prt} program (see Chapter \ref{sec:scor2prt}, - pp.\ \pageref{sec:scor2prt}). - }. - -\medskip -The \emph{preamble} contains the general specifications for a score, -some musical (e.g., number of instruments, meter, key signature), and -some typographical (e.g., number of pages, number of staves per page). - -\medskip -The coding for the music itself is given in the \emph{body}, which in -turn usually has a \emph{header}. As an example, consider the first few -bars of Haydns \emph{quartet Op.76, no.2} . The music shown in -Fig.~\ref{fig:Haydn} is obtained from the {\PMX} source code given in -Table~\pageref{tab:Haydn}. - -\section{Preamble} \label{sec:preamble} -_{preamble} - -The \emph{preamble} consists of one or several lines of numbers, -followed by lines with typographical data relevant for the whole score. -The preamble ends with a line giving the name of the directory to which -_{\textbf{pmxab}} -\textbf{pmxab} is to write its output \texttt{.tex} file. - -\subsection{Numerical input} \label{sec:numinput} - -The first line(s) of the preamble must contain 12 numerical -parameters, separated by one or more spaces (`white space'). In {\PMX}, -as in {\TeX}, a line feed is equivalent to a white space, so the -following 3 forms of the beginning numerical input are all equivalent: - -{\small -\begin{verbatim} -4 4 4 4 0 6 0 -1 -1 1 16 .08 -\end{verbatim} -} - -\vspace*{-1.5ex} -\qquad --- or --- - -\vspace*{-1.5ex} -{\small -\begin{verbatim} -4 4 4 4 0 6 0 -1 1 1 16 .08 -\end{verbatim} -} - -\vspace*{-1.5ex} -\qquad --- or --- - -\vspace*{-1.5ex} -{\small -\begin{verbatim} -4 -4 -4 -4 -0 -6 -0 --1 -1 -1 -16 -.08 -\end{verbatim} -} - -\medskip\noindent -For the purpose of this tutorial, the 12 s are named\,% -\footnote{Their names are written in typewriter typeface here because in - a way they \emph{are} input and, as some of the examples show, - used as such, albeit only in comment lines. But these names - themselves never occur in {\PMX} commands. (See, however, - the footnote on p.\pageref{p:errormsg}). - }. -\begin{center} - \parbox{6cm}{\texttt{nstaves}, \texttt{ninstr}, \\[1ex] - \texttt{mtrnuml}, \texttt{mtrdenl}, \\ - \texttt{mtrnump}, \texttt{mtrdenp}, \\[1ex] - \texttt{npickup}, \\ - \texttt{nkeys}, \\[1ex] - \texttt{npages}, \texttt{nsystems}, \\ - \texttt{musicsize}, \texttt{fracindent} - } -\end{center} - -Their significance is as follows: - -\begin{itemize} -\item -_{voice!several voices in one staff} _{\texttt{nstaves}} - \texttt{nstaves}, an integer $\leq 24$, is the total number of - staves per system. Each staff may contain either one or two voices - (lines of music). The number of voices in a staff may change as - the piece progresses, but the total number of voices at any one - time cannot exceed 24. So if, e.g., there are 24 staves, there can - only be one voice per staff. - -_{\texttt{ninstr}} - \texttt{ninstr}, an integer $\leq$ - \texttt{nstaves}, is the number of \emph{instruments}. Each - instrument has a unique name (cf.\ p.~\pageref{p:names}), and any - instrument with more than one staff will have its staves joined - with a curly bracket. Often there is only one staff per - instrument, and \texttt{ninstr $=$ nstaves} in that case. There - are two ways to assign more than one staff to one or more - instruments: - - \begin{itemize} - \item if only the first, i.e.\ the \emph{lowest}, instrument has - more than one staff, such as in a score for piano and a - one-staff solo instrument, simply make \texttt{ninstr $<$ - nstaves}, and any difference will show up in instrument 1, - the bottom one in each system, - \item When you need a more general assignment of staves to - instruments, put a minus sign in front of \texttt{ninstr}, - and follow \texttt{ninstr} with the number of staves in each - instrument in succession, in sequence from the bottom one up - (the same order as the instrument names, - cf.~p.\pageref{p:names}), separated by spaces. These numbers - \emph{must} add up to \texttt{nstaves}: in a way, they are - simply a partition of the numerical parameter - \texttt{ninstr} . - \end{itemize} - - \Example - The preamble of the first example (Fig.~\ref{fig:diabolica}) - simply has \texttt{nstaves} $=3$ and \texttt{noinst} - $=2$ : \begin{figure}[!htb] - \begin{center} - \raisebox{-0.75ex}{% - \includegraphics[scale=.82]{eps/diabolica.eps} - } - \end{center} - \caption{\textbf{C.C.\ Noack}, \emph{sonata diabolica, first - movement}, bars 12--17 - } \label{fig:diabolica} - \end{figure} - while the Stravinsky excerpt of Fig.~\ref{fig:agon} was obtained\,% - \footnote{In the \PMX\ text with which Fig.~\ref{fig:agon} was - produced, an additional \MusiXTeX\ command was used to - gather the strings in a group in the usual way. This - ``inline use'' of \TeX\ commands will be explained in - detail in Section~\ref{sec:inlineTeX} . - } - with \texttt{nstaves} $=9$ and \texttt{noinst} replaced by - \[ -7 \; 1 \; 1 \; 1 \; 1 \; 2 \; 2 \; 1 \;\;\; . \] - This tells \PMX\ that there are 7 instruments in all, with 1 staff - each for the four strings, 2 each for the piano and the harp, and - 1 for the trombone. Note that these numbers -- 8 in all in this - case -- count as \emph{one parameter}, i.e.\ the 12 numerical - parameters of the preamble are made up of 19 numbers in this case: - \begin{center} - \begin{tabular}{l@{\quad:\quad}l} -9 & (\texttt{nstaves}) \\ --7 1 1 1 1 2 2 1 & (\texttt{ninst}) \\ -4 \quad 8 & (\texttt{mtrnuml, mtrdenl} \\ -4 \quad 8 & (\texttt{mtrnump, mtrdenp}) \\ -2 \quad 0 & (\texttt{npickup}, \texttt{nkeys}) \\ -0 \quad 2 \qquad 16 \qquad 0.14 -& (\texttt{npages, nsystems, musicsize, fracindent}) - \end{tabular} - \end{center} -\end{itemize} - -\begin{itemize} -\item _{meter} - The following 4 numbers serve to define the meter of the piece. - The first pair, -_{\texttt{mtrnuml}} - \texttt{mtrnuml} and -_{\texttt{mtrdenl}} - \texttt{mtrdenl}, are the \emph{logical} values which {\PMX} uses - to calculate the length of a bar: \texttt{mtrnuml} is the logical - numerator of the meter, i.e.\ the number of beats per measure, - \texttt{mtrdenl} the denominator. \label{p:meterdefs} - -_{meter!printed} - The second pair, -_{\texttt{mtrnump}} - \texttt{mtrnump} and -_{\texttt{mtrdenp}} - \texttt{mtrdenp}, determines the appearance of - the meter in the printed output, but has no effect on the internal - timing analysis of {\PMX}: - \begin{itemize} - \item if \texttt{mtrnump} $>0$, then it and - \texttt{mtrdenp} are printed literally as the - numerator and denominator of the time signature. For - example, \texttt{4 4 4 4} prints a standard - 4 quarters meter, - \item if \texttt{mtrnump} $<0$, then the numerator actually - used by \PMX\ will still be the positive value of - \texttt{mtrnump}, but the entire time signature will be - printed with a vertical slash through it, - \item if \texttt{mtrnump}=0, then \texttt{mtrdenp} - determines the printed meter as given in - Table~\ref{tab:meter} and shown in Fig.~\ref{fig:meter}. - \end{itemize} - -\medskip -There are special rules for n/16 and n/1 time signatures (where the -latter "1" normally means a semibreve or whole note). To get n/1 time, -\label{p:meterdefs0} -use \texttt{mtrdenl} $=0$ (zero) and \texttt{mtrdenp} $=1$\,% -\footnote{To remember this rule, recall that the printed denominator - is taken literally, while the logical denominator represents - the same time value that is denoted when entering ordinary - notes (see section~\ref{sec:notes} below): there \texttt{0} - stands for a whole note. - The special rule for n/16 time is due to programming - convenience. - }. -For n/16 time, it is \texttt{mtrdenl} $=1$ and \texttt{mtrdenp} -$=16$. So the choice [\texttt{3 0 3 1}] for the 4 meter -parameters, for example, will give a 3/1 time, both in the {\PMX} -internal computations and in the printed output, while a 5/16 time is -indicated by [\texttt{5 1 5 16}]. -\end{itemize} - -\medskip -\begin{figure}[!htbp] - \begin{center} - \raisebox{-0.75ex}{% - \includegraphics[scale=.82]{eps/agon.eps} - } - \end{center} - - \vspace*{-4ex} - \caption{\textbf{I.\ Stravinsky}, \emph{agon, first movement}, - bars 1--2 } \label{fig:agon} -\end{figure} - -\begin{table}[!htb] -\noindent -------------------------------------------------- - \begin{center} -_{\PMX!options!meter options} -_{meter!blind} - \begin{tabular}{|l|l|} - \hline - \texttt{0} & no meter is printed (`blind' meter) \\ - \texttt{1, 2, 3 or 4} & a single digit, between - the 2nd and 4th lines of each staff\\ - \texttt{5} & cut time (alla breve) \\ - \texttt{6} & common time \\ - \texttt{7} & numeral 3 with a vertical slash - \\ \hline - \end{tabular} - \caption{Meter options for \texttt{mtrdenp} $=0$ } - \label{tab:meter} - \end{center} -\end{table} - -\begin{figure}[!htb] - \begin{center} - \raisebox{-0.75ex}{% - \includegraphics[scale=.82]{eps/meter.eps} - } - - \vspace*{-4ex} - \end{center} - \caption{Result of meter options for \texttt{mtrdenp} $=0$ - } \label{fig:meter} -\end{figure} - -\begin{itemize} -\item -_{pickup bar} -The $7^{\text{th}}$ parameter, -_{\texttt{npickup}} -\texttt{npickup}, is the number of beats in a pickup bar if one is -present. If there is no pickup bar, set \texttt{npickup} $=0$. -\texttt{npickup} need not be an integer. Cf.~Fig.~\ref{fig:pickups} for -examples of pickup bars. -_{pickup bar} - -A pickup bar is the \emph{only} bar that can have a different number of -beats than the current value of \texttt{mtrnuml}. It must be followed -with the first regular bar \emph{in the same block}, i.e.\ the pickup -note(s) \emph{must not be followed} by a \texttt{|}, \texttt{/} or -\texttt{//}. -_{pickup bar} - -We shall later describe a {\PMX} command to change the meter, and -explain how to use it for pickups to later sections or movements -(cf.~section~\ref{sec:meterchg}). -\end{itemize} - -\begin{figure}[!htb] - \begin{center} - \raisebox{-0.75ex}{% - \includegraphics[scale=.82]{eps/pickups.eps} - } - \end{center} - \caption[Examples of pickups in 4/4]% - {Examples of pickups in 4/4 (the values of \texttt{npickup} - are given under the staff). - } \label{fig:pickups} - -\end{figure} - -\begin{itemize} -\item -_{key signature} _{signature|see{key signature}} _{\texttt{nkeys}} - \texttt{nkeys} is the key signature, positive integer for sharps, - negative for flats. -\end{itemize} - -\medskip -The last four numerical parameters concern the layout: -\begin{itemize} -\item If -_{\texttt{npages}} - \texttt{npages} $>0$, it is the number of - pages, and -_{\texttt{nsystems}} - \texttt{nsystems} is then the - total number of systems in the entire piece. {\PMX} will spread - the entire piece horizontally over this number of systems, and - vertically over \texttt{npages} pages. For proper vertical spacing - there should be from about 9 to 16 staves per page. If you specify - too many staves for a given number of pages, one or more staves - may spill over onto an extra page, but you will not see this until - you preview the \texttt{.dvi} file. Possible remedies are to - increase \texttt{npages}, decrease \texttt{nsystems}, or use the - \texttt{Ae} command, to be described later (cf.~section - \ref{sec:A}). - - \label{p:preamble} -\item If \texttt{npages} $=0$, \texttt{nsystems} is interpreted as the - average number of bars per system. This is useful while building - up a file a little at a time. {\PMX} will decide how many pages to - use. -\item -_{staves!size} _{\texttt{musicsize}} - \texttt{musicsize} is the height of a staff, - in points. The only values allowed are: 16, 20, 24 or 29 . -\item -_{indenting first system} - Finally, -_{\texttt{fracindent}} - \texttt{fracindent} is the - indentation of the first system from the left margin, expressed as - a decimal fraction of the total line width. - - \smallskip - Note that although logically \texttt{fracindent} could have any - value between $0$ and $1$ , you should never use a value - seriously over $.5$. It is not only esthetically rather - unpleasing, but may cause some unexpected havoc for {\MusiXTeX}. -\end{itemize} - -\begin{table}[!htb] - \begin{center} -_{preamble!numerical parameters} -\begin{tabular}{|l@{ : \quad}r@{\qquad\qquad}l|} -\hline -\texttt{nstaves} & 4 & (4 staves) \\ -\texttt{ninstr} & 4 & (4 instruments) \\ -\texttt{mtrnuml} & 4 & (4 beats \dots \\ -\texttt{mtrdenl} & 4 & \quad \dots of quarters) \\ -\texttt{mtrnump} & 0 & (option for \dots \\ -\texttt{nmtrdenp} & 6 & \quad \dots common time) \\ -\texttt{npickup} & 0 & (no pickup bar) \\ -\texttt{nkeys} & -1 & (key: d minor) \\ -\texttt{npages} & 1 & (1 page) \\ -\texttt{nsystems} & 1 & (1 system) \\ -\texttt{musicsize} & 16 & (16 pt staff) \\ -\texttt{fracindent} & .085 & (indentation of 1st system) \\ \hline -\end{tabular} -\caption{Example of preamble parameters for the F.J.\ Haydn - quartet in Fig.~\ref{fig:Haydn}, p.~\pageref{p:Haydn} - } \label{tab:Haydnparams} -\end{center} -\end{table} - -\medskip \label{p:names} -_{instruments} _{instruments!names} -In the next part of the preamble the names of the \emph{ninstr} -intruments are given, as you want them to appear within the indentation -in the first system, one per line, \emph{starting with the bottom} -instrument. If you don't want instrument names to appear, you must still -leave \texttt{ninstr} blank lines here. - -\label{p:clefs} -_{clefs} _{clefs!exotic} -Next, on a new line, comes a single string of \emph{nstaves} letters or -numbers for the clefs, again starting with the bottom staff. The choices -are\,% -\footnote{There are several more exotic clefs, available only in - straight {\MusiXTeX} (cf.~Section \ref{sec:inlineTeX} on - ``Inline {\TeX}'', and the {\MusiXTeX}~\texttt{1.15} manual, - Section~2.21). - }: -\verb|b, r, n, a, m, s, t, f| , which stand for -\textbf{b}ass, ba\textbf{r}itone, te\textbf{n}or, \textbf{a}lto, -\textbf{m}ezzosoprano, \textbf{s}oprano, \textbf{t}reble, or -\textbf{f}rench violin clef, respectively. Instead of these mnemonic -abbreviations, you can use the digits 0--7, according to the notation -\texttt{0} (treble), \texttt{1} (soprano), \texttt{2} (mezzosoprano), -\texttt{3} (alto), \texttt{4} (tenor), \texttt{5} (bariton), \texttt{6} -(bass) and \texttt{7} (french violin)\,% -\footnote{This rather unmnemonic notation has been retained in {\PMX} - for compatibility with {\MusiXTeX}. - }. -These two clef codes are summarized in Fig.~\ref{fig:clefnot}. -\begin{figure}[!htb] \begin{center} -_{clefs!symbols} _{clef codes|see{clefs, symbols}} - \raisebox{-0.75ex}{% - \includegraphics[scale=.82]{eps/clefnot.eps} - } - \end{center} - \caption{Notation of the clefs} - \label{fig:clefnot} -\end{figure} - -\bigskip -_{preamble!end of} _{working directory|see{directory}} -_{current directory|see{directory}} _{path name|see{directory}} -The preamble ends with a line that contains the path name of the -^{directory} to which you want the files (the \verb#.tex# file, in -particular) to be written when -_{\textbf{pmxab}} -\textbf{pmxab} processes your source text. Usually you will want that to -be the current directory: in UNIX this is denoted by \verb#./#~, in DOS -(most versions, including Windows) it is \verb#.\#\qquad. In any case, -the path -- and thus the whole preamble -- must terminate with \verb#/# -or \verb#\#~~. - -\addcontentsline{toc}{section}{Body of the Input File} -_{body of Input File} - -\bigskip -The rest of the {\PMX} input file is called the \emph{body}. It usually -begins with a number of global options, each on a line by itself, -called the \emph{header} (which can be empty). -\label{p:header} -_{header} _{\PMX!options!general} - -\medskip -_{input block} _{block|see{input block}} -Following the header, the input of the actual music begins. The basic -unit is called a \emph{block}, each one consisting of from 1 to 15 -complete bars. The input data for all bars in a block are entered for -each staff in turn, starting with the first (i.e.\ the \emph{lowest}) -staff. The sequence of staves (and thus of the instruments) corresponds -to that in the preamble: the first is the bottom one of the system as it -appears in the final score, and the last is the top one. The input for -each staff ends with a \verb#/# (slash). The data for one staff need not -be contained on a single input line, but may spread over as many as -needed, with any number of blank lines and comment lines between them\,% -\footnote{Remember that in {\PMX}, as in {\TeX}, a line feed is - equivalent to a space, and a sequence of many spaces is - equivalent to one space. - }, -but after the end of one staff (i.e.\ after the slash), you \emph{must} -start the coding for the next staff on a new input line. A \emph{block} -ends with the slash of the last staff of the last instrument (the top -staff in the score). -_{input block!ending} - -\medskip -Though you can put up to 15 bars in one block, many users of {\PMX} have -the habit of systematically writing one bar per block only. Sometimes, -however, for reasons of context, {\PMX} \emph{requires} a set of bars to -be in one and the same block (cf.~Section~\ref{sec:dynamics}). If you -do put more that one bar in a block, it is advisable (although not -required) to separate the bars with a \verb#|# (`vertical stroke'). The -main function of this is to provide visual separation in the input file, -and to help isolate input errors: if you put a \verb#|# anywhere except -at a bar end, the {\PMX} processor will stop and show you where it -detected the timing error. Otherwise (with a few minor -exceptions% -\footnote{For such an exception cf.\ the note on p.\pageref{p:repeats}. - }) -\verb#|# has no effect. -_{bar lines!in source} - -It is also good practice to separate the blocks with comment lines that -state which bars are represented, as has been done in the input source -for Fig.~\ref{fig:Haydn} (p.\pageref{p:Haydn}). - -_{pickup bar} -If there is a pickup bar (\verb#npickup# $>0$), it must be in a block -with the first full bar\,% -\footnote{If, for some reason, you do need to put the pickup in a - separate block, set the initial logical meter to fit the - pickup bar, then after the pickup bar do a blind meter change, - as described in section~\ref{sec:meterchg}. - }. - -_{voice!several voices in one staff} -When there are 2 voices in a staff (e.g.~for an organ or other -polyphonic instrument, or in a choir or symphonic score), these are -entered consecutively in the coding for that staff, again starting with -the lower voice, and this voice is ended with a \verb#//# (`double -slash'). Here again, after the double slash, you \emph{must} start the -second voice on a separate input line. The coding for this staff is then -again concluded by a single slash. - -\medskip -The two bars from \emph{Pellas et Melisande} by Debussy in -Fig.~\ref{fig:debussy} are an example. The bottom staff, that for the -trumpet, has only one voice, while the top staff (for the flutes) has 2, -thus giving a total of 3 voices. - -\begin{figure}[!htbp] - \begin{center} - \raisebox{-0.75ex}{% - \includegraphics[scale=.82]{eps/debussy.eps} - } \\[2ex] - ------------------------------------------ -\begin{minipage}{380pt} -\small -\begin{verbatim} -%----------------% -% C. Debussy, Pell‚as et Melisande, p.149 -%----------------% -% -2 2 -12 8 12 8 -0 6 -1 1 16 .07 -% -Trumpet -Flutes -tt -./ -It60itrfl -h-4 -Lento -Abepl -\\nobarnumbers\ -% -% %%%%%%%%%%%%%%%%%%%%%%%%% Bar 1 %%%%%%%%%%%%%%%%%%%%%%%%% -cd4 D"con sord."+17 sf dd fd dd sf / -r8+0 fr sfu+0+1 e sf+0 t ed4 t r8+0 -br+ sfu+0+1 a sf+0 r+0 gr sfu+0+1 f sf+0 // -rb8 g4+ t gd t rb8 c4 rb8 a4 / - -% %%%%%%%%%%%%%%%%%%%%%%%%% Bar 2 %%%%%%%%%%%%%%%%%%%%%%%%% -cd4 sf dd fd ad sf Rb / -r8+0 fr sfu+0+1 e sf+0 t ed4 t r8+0 br+ sfu+0+1 a sf+0 t ad4 t // -rb8 g4 t gd t rb8 c4 t cd t / - -% %%%%%%%%%%%%%%%%%%%%%%%%% end of file %%%%%%%%%%%%%%%%%%% -\end{verbatim} -\end{minipage} - \end{center} - - - \caption{\textbf{C.\ Debussy}, \emph{Pellas et Melisande} (excerpt) } - \label{fig:debussy} -\end{figure} - -\medskip -_{voice!several voices in one staff} -The number of voices in a staff (1 or 2) is determined solely by whether -the first sequence of symbols for that staff ends with \verb#/# or -\verb#//#. Therefore the number of voices in any given staff can vary -from block to block, but not within a block. In other words, if you need -to change the number of voices in a staff, you must start a new block. - -\medskip -_{\PMX!symbols} -Finally, a general characteristic of {\PMX} coding should be noted: all -data comprises sequences of \emph{symbols}, each one containing one or -more adjacent characters. These symbols -- including the -voice-terminating symbols \verb#/# and \verb#//# -- are \emph{always} -separated from each other by at least one space or line feed. Whenever -there are several characters strung together without spaces, they are -considered \emph{one single} {\PMX} symbol. This concept has already -been illustrated in prior examples. The construction of the symbols will -be explained in much more detail in the remainder of this chapter. - -\section{Commands for the Individual Staves} - \label{sec:stave transposition} - -_{\PMX!commands for individual staves} - -\subsection{Notes} \label{sec:notes} -_{notes} - -The most important input item is of course a single note. Its two -main features are its \emph{pitch} and its \emph{duration}. - -\emph{The pitch} is primarily -- i.e.\ up to octaviation --indicated by -_{notes!pitch} -the note \emph{name} in \emph{lower case} letters: \texttt{c, d, e, f, -g, a, b} (do, re, mi, fa, sol, la, si). If the note is to have an -accidental, the note name is followed \emph{without a space} by -\texttt{s, f} or \texttt{n} for a \textbf{s}harp, \textbf{f}lat or -\textbf{n}atural; \texttt{ss}/\texttt{ff} for a double sharp/double -flat. - -_{accidentals} _{notes!duration} - -The \emph{basic duration}, i.e.\ the duration exclusive of a possible -dot, is indicated by the first unsigned digit following the note name, -again with no space: \texttt{9, 0, 2, 4, 8, 1, 3, 6} respectively for -double-whole (^{breve}), whole (^{semibreve}), half, quarter, eighth -(quaver), sixteenth (semiquaver), thirty-second, and sixty-fourth notes. -For a consecutive sequence of notes of equal duration, this needs to be -given explicitly only for the first note of the sequence. Subsequent, -consecutive notes with no explicit duration will `\emph{inherit}' their -basic durations from the most recent note with an explicit duration. -_{eighths} _{sixteenths} - -A \emph{dotted/doubly dotted note} is indicated by the letter -\texttt{d}/\texttt{dd} just about anywhere\,% -\footnote{The only restriction on the position of \texttt{d} within the - note symbol occurs if the dot is to be shifted - (cf.~p.\pageref{p:dotshift}). - } -in the note symbol, after the note name, of course. - -It is important to note that, in contrast to the basic duration, a -dot is never inherited by a subsequent note. -_{notes!duration!not inherited for dotted note} _{dotted notes|see{notes}} - -\medskip -The \emph{pitch} of a note is, of course, not determined by the note -name alone; the actual octave needs to be specified as well. For this, -there are three possibilities: -\begin{description} - \item[explicit octaves:] \text{} \\ -_{notes!pitch!explicit octave} - A second unsigned digit\,% - \footnote{In contrast to the letters for accidentals and dots - and other letters to be explained in - Section~\ref{sec:otherparams}, the 2 digits for - duration and pitch, if present, must always be given - in this order. Specifically, if by omitting the - duration digit you use the inherited duration, you - can no longer specify the octave explicitly by an - unsigned digit. - } - indicates the octave to which the note belongs. For reference, - octave 4 runs from middle C to the B above. The lowest note on - an 88-key piano is the A in octave~0, while its highest note is - the C in octave~8 (cf.~also Fig.~\ref{fig:pitch}). - - \begin{figure}[!htb] \begin{center} - \includegraphics[scale=.82]{eps/pitch.eps} - \end{center} - \caption{{\PMX} notation for pitch - (second digit of note symbol)} - \label{fig:pitch} - \end{figure} - - \item[inherited pitch:] \text{} \\ -_{notes!pitch!inherited} - For a note without any explicit octave or relative pitch - indication, the octave is assigned by {\PMX} such that the note - is placed in the octave that makes it nearest to the most - recent note \emph{in the same voice}, i.e. the pitch is - `inherited'. Thus for jumps of less than a fourth up or down, - you only need to enter the note name to fully specify the - pitch. This feature often lets you go for long stretches in a - voice before needing to enter the octave. For jumps of a fifth - or more, you need to specify the octave either explicitly as - described above, or relatively as described below. - - \item[relative pitch:] -_{notes!pitch!relative} - \text{} \label{p:relativepitch} \\ - A \texttt{+} or \texttt{-} (if not part of one of the signed - numerical suboptions to be discussed later) indicates that a - note is to be an octave higher or lower than it would otherwise - be. Two consecutive \texttt{+}'s will raise the pitch two - octaves, and so forth\,% - \footnote{Two consecutive \texttt{+}'s can be abbreviated by - one \texttt{++} . - }. - - As an example of all this, compare Fig.~\ref{fig:reloctav} with the - {\PMX} notations given under the staff\,% - \footnote{The same result would be obtained with the full, absolute - notation \texttt{c84 d84 e84 c85 b84 a84 g84 g83 | c26 g23 - | c04}; but this is obviously much more verbose. - -_{notes!pitch!explicit octave} - Explicit octave numbers can be combined with one or more - \texttt{+} or \texttt{-}, although this is not - recommended. - }. - - \begin{figure}[!htb] - \begin{center} \includegraphics[scale=.82]{eps/reloctav.eps} - \end{center} \caption{Relative Octave Notations} - \label{fig:reloctav} - \end{figure} -\end{description} - -_{notes!pitch!explicit octave} -The first note of each line of music in a block must contain at a -minimum the note name and a basic duration value. It is good -practice and can simplify editing if in addition an explicit octave is -set there. However if it is not, {\PMX} will make some assumptions: at -the start of the first input block the pitch will be set as if there -were a prior note of middle C. In later blocks {\PMX} will use the -obvious inheritance rules from the end of the prior block\,% -\footnote{However, if the number of voices in a staff has changed from - the prior block, it is safest to reset the octave at the start - of a new block. Duration is never inherited across block ends, - and thus must be reset at the start of each input block. -_{notes!duration!not inherited across blocks} _{voice!several voices in one staff} - }. - -\subsection{Dotted Notes} \label{sec:dotnotes} -_{notes!dotted note} - -Inheritance of dotted notes is a little tricky. As was noted above, the -dot itself is never inherited; you always have to use a \texttt{d} in -the note symbol, even if the actual duration and octave are the same as -the prior note. But the \emph{basic} digit of duration need not be -reentered if it hasn't changed\,% -\footnote{There is an exception to this: if you decide to indicate the - octave with an explicit digit (`absolute octave'), you must - then enter the duration explicitly as well. - }. -So for example, consecutive dotted half notes, each within a fourth of -the previous one, could be most cleanly entered as \texttt{cd24 ed gd -ed}, whereas \texttt{cd24 e} would represent a dotted half note followed -by a plain half note, since the basic digit of duration was for a half -note all along. - -\subsection{Stems} \label{sec:stems} -_{stems} _{stems!direction forced} _{stems!length} - -{\PMX} usually determines the correct stem length and direction -(\emph{up} or \emph{down}) of a note automatically. This can, however, -be changed by the user, as needed: -\begin{itemize} -_{stems!options} - \item the stem direction is forced to go \emph{up} with the letter - \texttt{u} (`\textbf{u}p') anywhere after the note name, or - \emph{down} with \texttt{l} (`\textbf{l}ower'), - \item the stem length of non-beamed notes can be shortened by adding - the option \texttt{S}, followed by a decimal number between .5 - and 4.0 , representing the shortening in units of - \texttt{\bs{}internote}\,% - \footnote{1 unit of \texttt{\bs{}internote} is roughly half the - distance between staff lines. - }. - The shortening can be made ``sticky'', i.e.\ applied to all - following notes by adding a colon (\texttt{:}) after the - number. Stickiness is terminated by \texttt{S:} . - -\end{itemize} - -\subsection{Other Note Parameters} \label{sec:otherparams} -_{\PMX!options} _{\PMX!options!notes} -Here are some more options that can be appended to a note symbol (as usual -without spaces): - -\begin{description} - \item[Inhibited beaming (\textbf{a})] \text{} \\ -_{beaming!inhibited} - Joining the note stems with beams is usually done automatically by - {\PMX}\,% - \footnote{For details of this cf.\ Section~\ref{sec:beams}. - }. - Sometimes, however, you may want to inhibit this explicitly for a - single note; this is achieved by the letter \texttt{a} (for - \texttt{a}lone). - \item[Horizontal shift (\textbf{e,r})] \text{} \\ -_{notes!horizontal shift} - Sometimes you want to shift the horizontal position of a note, for - example to avoid overlap with a note in another voice of the same - staff. The letters \texttt{e} and \texttt{r} do that: \texttt{e} - shifts the note to the l\texttt{e}ft by its own width (a `notehead - width'), while \texttt{r} shifts it to the \texttt{r}ight. An - example of this can be seen in Fig.~\ref{fig:debussy}. - \item[Shift of accidentals (\texttt{<} / \texttt{>})] - \text{} \label{p:accidentals} \\ -_{accidentals!position shift} - Accidentals can be shifted too. One way is to enter \texttt{+} or - \texttt{-} immediately after the accidental character, then an - \emph{integer} for the vertical shift in units of - \texttt{\bs{}internote}, then another \texttt{+} or \texttt{-} , - followed by the horizontal shift, given as a decimal fraction of a - notehead width. If you use this method, you \emph{must enter both - numbers}. Alternatively -- if you need only an horizontal shift --, - you can simply use \texttt{<} or \texttt{>}, followed by the shift, - in notehead widths. When shifting a sharp to avoid another sharp, a - left shift of $0.85$ is usually best. When shifting a flat to avoid - a flat above it, a left shift of $0.3$ is suggested. - \label{shifts} - \item[Shift of the dot in dotted notes] \text{} \label{p:dotshift} \\ - The dot in dotted notes can be shifted analogously to the first - method for accidentals, using signed numbers, except that the first - (vertical) shift may be a decimal fraction. - \item[Shorthand for dotted notes] -_{dotted notes!shorthand} _{shorthand!for dotted notes} - \text{} \\ There are two special shorthand notations for dotted - rhythms. For normal dotted rhythms ($3:1$ ratio), if you include a - period (\texttt{.}) in the note symbol, {\PMX} will - \begin{itemize} - \item assign a dot to the note just entered, - \item terminate that note, - \item prepare to receive the next note name \emph{without any - space}, and - \item automatically assign a time value to the second note equal - to one-third of the first one. - \end{itemize} - No time value may be entered for the second note, but octave and - accidental parameters may. Ornaments and slurs - (cf.~Sections~\ref{sec:ornaments} and \ref{sec:psslurs}) following - this symbol will apply to the second member. If you need to follow - the main note with some modifying command, you can still use the - shorthand (\texttt{.}) after that command and a space. The main - advantage of this shorthand comes if you want to follow one dotted - pair with another of the same rhythm; then you needn't enter any - explicit duration value for \emph{either} member of the second - pair. This is because after using the shorthand, the basic - inherited duration value is set to that of the \emph{first} note in - the pair; remember that the basic duration does not include the - dot! - - For paired notes with 2:1 rhythmic ratios, the symbol \texttt{,} - (comma) behaves similarly to the \texttt{.} (period) for 3:1 - rhythms as just described. - - \Note{If you use this shorthand for dotted pairs, either embedded - in a single symbol or to start a separate symbol for the - second member, then you \emph{cannot shift the dot position}. - If you do need to shift the dot, you should not use the - shorthand notation. -_{dotted notes!shorthand} - } -\end{description} -\bigskip -For reference, all the letter-type note parameters are listed in -Table~\ref{tab:noteparameters}. Examples demonstrating the -use of most of them are given in Fig.~\ref{fig:notepars} . - -\begin{table}[!htb] - \begin{center} -_{\PMX!options!notes} _{accidentals} _{accidentals!cautionary} -_{notes!parameters} _{accidentals!MIDI} - \begin{tabular}{|l@{\hbox{\quad}}c@{\quad --- }l|} - \hline - \multicolumn{3}{|l|}{\textbf{Accidentals:}} \\ - & s & \textbf{s}harp \\ - & f & \textbf{f}lat \\ - & n & \textbf{n}atural \\ - & ss & double \textbf{s}harp \\ - & ff & double \textbf{f}lat \\ - & sc, ssc, fc, ffc, nc - & cautionary accidental (accidental in parenthesis) \\ - & si, fi, ni & \parbox[t]{300pt}{M\textbf{i}DI accidental {\\} - [\,does do not appear in the printed score - --- - cf.~Section~\ref{sec:MIDIaccidentals}\,] - } \\[1ex] - \multicolumn{3}{|l|}{\textbf{Dotted Notes:}} \\ - & d & single \textbf{d}ot \\ - & dd & \textbf{d}ouble \textbf{d}ot \\ - & . & shorthand for $3:1$ rythm \\ - & , & shorthand for $2:1$ rythm \\ - \multicolumn{3}{|l|}{\textbf{Stems:}} \\ - & u & force the stem \textbf{u}p \\ - & l & force the stem down (\textbf{l}ower) \\ - \multicolumn{3}{|l|}{\textbf{Shifts of Position:}} \\ - & e & shift the notehead l\textbf{e}ft - by the notehead width \\ - & r & shift the notehead \textbf{r}ight - by the notehead width \\ - & \texttt{<} & left shift of accidental \\ - & \texttt{>} & right shift of accidental \\ - & +, - & general shift of accidental \\ - \multicolumn{3}{|l|}{\textbf{Beam Inhibit:}} \\ - & a & \textbf{a}lone (cf.~Section~\ref{sec:beams}) \\ - \multicolumn{3}{|l|}{\textbf{Xtuplets:}} \\ - & x & (\textbf{x}tuplet) (cf.Section~\ref{sec:xtuplets}) \\ - \hline - \end{tabular} - \end{center} - \caption{Use of Note Parameters as shown in Fig.~\ref{fig:notepars} .} - \label{tab:noteparameters} -\end{table} - -\begin{figure}[!htb] - \begin{center} - - \includegraphics[scale=.82]{eps/notepara.eps} \\[2ex] - \includegraphics[scale=.82]{eps/noteparb.eps} \\ - \small{ (Notations for Dotted Notes) } \\[2ex] - \includegraphics[scale=.82]{eps/noteparc.eps} \\ - \small{ (Position Shifts of Accidentals) } \\[2ex] - \end{center} - \caption{Use of Note Parameters} \label{fig:notepars} -\end{figure} - -\pagebreak -\subsection{Rests} \label{sec:rests} -_{rest} _{pause|see{rest}} - -Rests are denoted by the letter \texttt{r} in place of a note name. -Rests have duration digits just like notes, but obviously no second -digit for giving an octave. As inheritance goes, an \texttt{r} behaves -just like a note: it can inherit its duration from the prior note or -rest, and notes as well as rests can inherit their duration from prior -rests. - -\medskip -Any rest or sequence of rests that occupies a full bar will by default -be horizontally centered in the bar. - -\medskip -There are a few special notations for rests: -\begin{itemize} - \item \texttt{rp} (`\textbf{r}est \textbf{p}ause') denotes a full-bar - rest (whole rest), regardless of what the meter signature for - the bar may be, - \item \texttt{rpo} (`\textbf{r}est \textbf{p}ause - \textbf{o}ff-center'). The option \textbf{o} suppresses the - centering of a pause, - \item -_{rest!blank rest} - \texttt{b} (`\textbf{b}lank') denotes a blank rest, i.e. one - that \emph{does not appear in print}. Logically, it has a - duration that is determined, as usual, either by an explicit - duration specifier or by inheritance. Blank rests are most - commonly used when there are two voices in a staff, - and one drops out for some part of the current input bar\,% - \footnote{Another interesting application is when you have two - homophonic voices in one staff and, for simplicity's - sake you want to write only one rest for both voices - (cf.~the last 2 bars in Fig.~\ref{fig:rests}) . - }, - \item -_{rest!multibar rest} _{\textbf{scor2prt}!multibar rest} - \texttt{rm} (`rest \texttt{m}ulti-bar') followed -- without - space! -- by an integer $n$ generates the multi-bar rest symbol - with the number $n$ above it, signifying a rest for $n$ full - bars\,% - \footnote{This is used in particular when the parts for - individual instruments are generated from a full - score, as is done automatically by \textbf{scor2prt}; - cf.\ Section~\ref{sec:scor2prt}). - }. -\end{itemize} -\noindent -\hspace*{2em}\fbox{\begin{minipage}{390pt} - Note that that there can be \emph{only one instance} of a multibar - rest in a given input block! - \end{minipage} - } - -\medskip\noindent -The default vertical position of a rest depends on whether there are one -or two voices in the staff. For one voice it is just the {\MusiXTeX} -default: approximately centered on the middle line. On the other hand, -in the lower voice in a two-voice staff, the rest is lowered -by \verb#4\internote#, while in the upper line it is raised -by \verb#2\internote#. The default can be manually overridden by appending -\verb#+# or \verb#-# and an integer for the offset (in -\verb#\internotes#) from the \emph{middle} line of the staff. Note that -this means that, if in the case of 2 voices in a staff you want to have -the rest centered on the middle line, you need to code it as \verb#r+0# ---- see the last bar in Fig.~\ref{fig:rests}~. - -\medskip -Some samples of rests are given in Fig.~\ref{fig:rests}. - -\begin{figure}[!htb] - \begin{center} - \includegraphics[scale=.82]{eps/rests.eps} - \end{center} -\caption{Rests} -\label{fig:rests} -\end{figure} - -\pagebreak -\subsection{Xtuplets} \label{sec:xtuplets} -_{xtuplet} - -{\PMX} insists very strictly on checking that the sum of durations of -all notes or rests in a bar add up to the total required by the bar's -meter. Thus, it cannot deal easily with modern extensively\,% -^{polyrhythmic scores}, percussion in particular \label{p:polyrhythms} -\footnote{But such problems occur occasionally even in classical music. - Thus, a real challenge to any {\PMX} expert is to code the - (in)famous third movement of Mozart's Oboe Quartet KV 370, - where suddenly the oboe changes to an alla breve (4/4), while - the strings continue on in a 6/8 meter! - }. -The only polyrhythmic feature built into {\PMX} are the traditional -xtuplets: doublets, triplets etc.\ , together with their usual notation. - -\medskip -Xtuplets (duplets, triplets, etc.) can have from 2 to 24 notes or -rests\,% -\footnote{The default maximum of $24$ can be changed. - Cf.~\ref{sec:limits} . - }. -By default all notes in an xtuplet have the same duration; but some can -be dotted or have twice the basic duration -(cf.\ p.~\pageref{p:xtupletdoubling}). The notation is as follows: -\begin{enumerate} - \item The symbol for the first note of an xtuplet begins exactly like - a note symbol, with the name of the first note in the xtuplet, - or an \texttt{r} if the xtuplet starts with a \textbf{r}est --, - followed, as the case may be, by an accidental, a \texttt{d} or - \texttt{dd}, a \texttt{+},\texttt{-} or explicit octave, and an - optional duration digit. However, this duration, whether given - explicitly or inherited from a previous note or augmented by a - dot, is not the duration of the first note, but represents the - \emph{total} duration of the \emph{whole xtuplet}. - - \item If the xtuplet is to be \emph{unbeamed}, add an - `\texttt{a}' (`alone') right after the first note. - \item Next -- with no space, as usual -- comes \texttt{x} (for - `\textbf{x}tuplet'), followed by a one- or two-digit integer, - for the number of notes in the xtuplet . If the first note is to - be dotted, add the usual \texttt{d}, if it is to have twice the - basic duration, add a \texttt{D} or \texttt{F} (cf.\ - page~\pageref{p:xtupletdoubling} for more detail on this). The - only options allowed after this begin with the letter \texttt{n} - and control the printed appearance of the xtuplet: - \begin{itemize} - \item If \texttt{n} is omitted, the xtuplet is printed in the - standard way, i.e.\ with the xtuplet $3$ printed over (or - under, as the stemming may dictate) for, say, a triplet. - Note also that by default {\PMX} prints a bracket only - if the xtuplet notes are unbeamed; otherwise just the - xtuplet number is printed. - \item If \texttt{n} is followed by an \emph{unsigned} integer, - this integer is taken as the number to be printed - instead of the natural (default) one. - \item If \texttt{n} is followed by the letter \texttt{f} - (\textbf{f}lip), the xtuplet number is \textbf{f}lippped - vertically from its default position. \item The position - of the xtuplet number can be adjusted in the usual way - with one or two \emph{signed decimal numbers} following - \texttt{n}: the first is a vertical shift in units of - \texttt{\bs{}internote}, the (optional) second a - horizontal shift, in notehead widths. - \item If \texttt{n} is given, but followed by a space, thus - ending the first-note symbol, \emph{no number} at all - will be printed. - \item -_{xtuplet!tweaking the bracket slope} - For a \emph{non-beamed xtuplet only} a suboption - \texttt{s} can be added to the \texttt{n} option by - which the slope of the bracket can be adjusted ; i.e.\ - you can use \texttt{ns}[\emph{n}], where \emph{n} is - an \emph{signed} integer (except zero): a positive - integer will lift the end of the bracket upwards, while - a negative one will move it downwards. - - Note that this suboption will operate in a more - elegant way for Sicherman-type xtuplets\,% -_{Sicherman-type xtuplets!see xtuplets} -_{xtuplets!ajusting slope with Sicherman xtuplets} - \footnote{For Sichermann xtuplets cf.\ the next page. - } - only: when the Sichermann option \textbf{AT} is - \emph{not in effect}, the bracket number (the 3 in a - triplet, e.g.) will \emph{not} follow the slope - adjustment and might have to be tweaked separately. - \end{itemize} - \item The second through last notes of the xtuplet are then each - given by a separate note symbol, containing the meaningful - subset of the parameters permitted for notes or rests: - \begin{enumerate} - \item the note name as the first character. This is the only - required character. It can be an \texttt{r} (for a -_{xtuplet!rest in xtuplet} _{rest!in xtuplet} - rest), except that the \emph{last note of an xtuplet - cannot be a rest}\,% - \footnote{Cf.\ however, Sec.\ - \ref{sec:Xtuplets ending with a rest} - }, - \item an accidental, - \item an octave change (\texttt{+} or \texttt{-}). The octave - may also given explicitly; this is the only digit - allowed, - \item a \texttt{d} (\textbf{d}ot). The next note after the - dotted one is automatically shortened to half the - normal value, - \item -_{xtuplet!doubled note} - \label{p:xtupletdoubling} - the character \texttt{D} in the note symbol for any - note in an xtuplet doubles the duration of this note. - As this accounts for two notes of the xtuplet, it will - decrease the expected number of notes in the xtuplet by - one. If used for the first note of an xtuplet, - \texttt{D} goes \emph{before} an optional \texttt{n} - parameter, \item -_{xtuplet!doubled note in Bach notation} - the character \texttt{F} is the same as \texttt{D}, - except that in the printed output the doubled note will - appear dotted (a notation Bach sometimes used). As with - \texttt{D}, an \texttt{F} for the first note goes - \emph{before} an optional \texttt{n} . - \item grace notes are allowed in xtuplets. -_{grace notes!in xtuplet} - \end{enumerate} - No explicit duration is allowed in symbols for the - second through last members of the xtuplet, the - duration having been determined by the first note. -\end{enumerate} - -\medskip -_{xtuplet!inhibited beaming} _{beaming!in xtuplet} -Beaming of xtuplets is done automatically. If it is to be inhibited, add -the \textbf{a}lone option to the first-note symbol -(cf.~Section~\ref{sec:otherparams}). - -\medskip -Fig.~\ref{fig:xtuplets} displays some examples of xtuplets, with the {\PMX} -coding given below the staff: - -\begin{figure}[!htb] - \begin{center} - \includegraphics[scale=.82]% - {eps/xtuplets.eps} \\[2ex] - \end{center} - \caption{Xtuplets} - \label{fig:xtuplets} -\end{figure} - -\bigskip -As was remarked at the end of Section~\ref{sec:preamble}, the -individual symbols of {\PMX} generally consist of one or several -characters strung together without spaces. In that sense, each note of -an xtuplet is considered to be \emph{a separate} {\PMX} symbol; so these -are separated by spaces as usual. - -\bigskip\bigskip -_{xtuplet!non-standard bracket} -\label{p:sicherman} -A special, non-standard bracket can be printed for \emph{non-beamed xtuplets -only} with an addition to {\PMX} designed by Col.\ G.L.\ Sicherman. This -prints the xtuplet number not above or below the bracket, but in line -with it, as shown in Fig.~\ref{fig:xtupletsSich}. To invoke this, simply -add the option \texttt{AT} as a separate {\PMX} symbol anywhere in the -body of the source file: this will switch from standard to Sicherman -brackets \emph{for all xtuplets in the score}. -_{Sicherman, Col.\ G.L.} - -\begin{figure}[!htb] - \begin{center} - \includegraphics[scale=.82]{eps/xtupletsSich.eps} \\[2ex] - \end{center} - \caption{Xtuplets with Sicherman brackets} - \label{fig:xtupletsSich} -\end{figure} - -\medskip -If you want to use this for specific xtuplets only or otherwise -customize your use of the option, you will have to use inline {\TeX} -commands, following instructions given in \verb#tuplet.tex# as comments. - -\Note{To use the Sichermann option, the file - \href{http://icking-music-archive.org/software/musixtex/% - add-ons/tuplet.tex}{\texttt{tuplet.tex} } - (available from the software section of the WIMA) must be - installed in your {\TeX} system! - } - -\subsection{Chords} -\label{sec:chords} - -_{notes!chordal} _{chords} -\emph{Chordal notes} are notes that share a common stem and have the -same duration. They are coded in {\PMX} as follows: -\begin{itemize} - \item -_{chords!main note} - One of the notes in the chord is chosen to be the `first note'. - The first note is written as usual and as described in - Section~\ref{sec:notes} ; all other chordal notes are denoted by - separate symbols starting with \texttt{z} , followed by a note - name. The note name can optionally be followed by an accidental - and an octave indicator (\texttt{+} or \texttt{-}), but no - absolute octave is allowed. And no duration value is allowed - either, as this is logically determined by the first note. - - Legally the first note can be any one of the chord notes; but wise - use of this freedom of choice is definitely called for, since - \begin{itemize} - \item the first note sets the default stem direction, - \item in a beam it can affect the height and slope of the - beam, - \item if the chord is beamed with other notes, the default - height and slope of the beam will be determined by the - `first note' of the chord. - \end{itemize} - - If a beam joining chords looks bad, you can often fix it by - changing which note acts as the main one [\,of course there are - other ways to fine-tune beam parameters, as will be described in - detail in Section~\ref{sec:beams}\,]. For further details, consult - Section~\ref{sec:arpeggio} . - - If the main note is dotted, the dot is obviously `inherited' for - all other notes as well, so writing another \texttt{d} would be - redundant. But if you want to shift the dot of a chordal note, you - \emph{must add} a \texttt{d}, followed by the shift parameters, as - described on p.\pageref{shifts}. - - \item Normally {\PMX} will automatically set notes in a chord so that - collisions are avoided (in a second, e.g.). If you don't like - the result, you can shift the note by one notehead width to the - \textbf{r}ight with \texttt{r}, or to the l\textbf{e}ft - with \texttt{e} . - \item The position of accidentals will also be adjusted automatically - by {\PMX} so as to avoid collisions. But, as with single notes, - you can shift accidentals of chord notes manually\,% - \footnote{Note that if, in addition, you use a \texttt{+} or - \texttt{-} to denote a relative octave - (cf.~p.\pageref{p:relativepitch}), this sign must - come \emph{after} the shift parameter for the - accidental. - }, - using the parameters described on p.\pageref{p:accidentals}. - - If you manually shift \emph{any}\ accidental in a chord, then - automatic shifting will be disabled for \emph{all}\ the - accidentals in a chord, \emph{unless}\ you preface the shift - parameter with \textbf{A} (e.g.~\texttt{zcsA<.5}), in which - case the manual shift will be \textbf{a}dded to that applied - automatically by {\PMX}. - \item -_{chords!position of accidentals} - \label{p:chordsoption} - Another option that affects accidental positioning in chords is - \texttt{Ao}~, entered in the main note symbol of a chord. It will - force the accidentals in that chord to be posted in the order they - come in the source (starting with the main note), each one as - far to the right as it will go without crashing into a notehead, - stem, or another accidental. -\end{itemize} - -_{chords!stem length and direction} _{stems!direction forced} -The stem length and direction of a chord are controlled by the first -note, but may be manually overridden with \text{u} (\textbf{u}p) or -\texttt{l} (\textbf{l}ower) in the first note symbol. - -\medskip -As decribed above, every chord note has its own note symbol. This means, -as always: no space within a note symbol, but at least one space -between the note symbols of a chord. - -\Note{\begin{center} \large\textbf{A beginner's trap} \end{center} When - slurring two chords, you may get confused by a simple - programming error. Take, e.g., the sequence - - \vspace*{-3ex} \begin{center} \texttt{c45 zf d zg-} \qquad . - \end{center} - \vspace*{-2ex}\noindent - The first notes of the two chords are c and d , the chord notes - (denoted by \texttt{z} in \PMX) are f and g . However, \PMX\ - following your instruction, sets the lower notes as \emph{c and - g} , the higher ones as \emph{f and d} . - - So if you want to slur the chord say, in the higher notes (as - shown in the picture), - - \vspace*{-3ex} \begin{center} - \includegraphics{eps/chordslur.eps} , - \end{center} - \vspace*{-3ex}\noindent - you must obviously write - - \noindent - \hspace*{5em} \texttt{c45 zf s d s zg-} \; , \quad not \quad - \texttt{c45 zf s d zg- s} \; . - - \smallskip - \textbf{Moral}: if you want to slur chords, look at the - \emph{names of the notes} you want to slur, not - the \texttt{z} symbols! - } - -\subsubsection{Arpeggio} \label{sec:arpeggio} -_{chords!arpeggio} _{arpeggio|see{chords}} - -An \textbf{arpeggio} is, of course, simply a special form of a chord, -denoted by a vertical wavy line in front of the chord proper. To write -that in {\PMX}, place the symbol \texttt{?} after the symbols, with a -space as usual, for both the first and last note of the chord. - -When doing that, you should remain aware of the fact that the wavy line -is generally understood as being played from the bottom up: lowest note -first, highest last. - -\medskip -So far, so easy. There are, however, a few special cases to note: -\begin{enumerate} - \item In an arpeggio, the wavy line often turns out to be crowded to - the chord itself; this happens in particular when some of the - chord notes have accidentals. In such cases one would want to - move the arpeggio line away from the chord itself a bit, i.e.\ - to the left. -_{arpeggio!moving arpeggio line to the left} - - This is easily achieved by adding a \texttt{-} and an (unsigned) - decimal number, without spaces, to one of the \texttt{?} - designating the arpeggio --- it doesn't matter which one. - \item Sometimes the composer may want to have the arpeggio played in a - more virtuose way (on string instruments, in particular): the - first 2 -- or even 3! -- of the chord notes simultaneously, as a - double (or triple) stop, then the other chord notes as a true - arpeggio. - - \medskip - This can be done easily in {\PMX}: simply place the first - \texttt{?} not after the starting chord note, but later, after - one of the \verb#z...# notes. - - In this case is is even more important to remember the standard meaning - of the wavy line in musical language that was just - pointed out! So in general, it is best to stick with the order of - the chord notes ``bottom to top'' unless you really know what - you are doing. - \item In piano music, it is quite common that an arpeggio is meant to - go across the chords of both hands. This also is easily -_{arpeggio!across staves} - implemented in {\PMX}\,% - \footnote{To my knowledge, this feature of {\PMX} (available - from Version 2.503 on) has not been explicitly - documented in the official {\PMX} documentation. - I am very grateful to Andr‚ van Ryckeghem for drawing - our attention to this feature in one of his - contibutions to the WIMA ``Tips \& Tricks'' WEB page. - }: - simply place the first \texttt{?} at the start of the left-hand - chord and the second one \emph{at the end of the - right-hand chord} --- as common sense would suggest! -\end{enumerate} - -\bigskip\noindent -To see all this in examples, look at how the chords in -Fig.~\ref{fig:chords} were coded. When comparing this figure with its -code it should become obvious that care is called for when -producing chords with accidentals, and arpeggios in particular: some of -the chords in bars 1 and 2 look ugly, to say the least, and the arpeggio -line in bar 3 as well as the first one in bar 4 seem to be downright -violations of the standards of good typesetting practice. - -\begin{figure}[!htb] - \begin{center} - \includegraphics[scale=.82]{eps/chords.eps} \\[2ex] - ------------------------------------------ -\begin{minipage}{380pt} -\small -\begin{verbatim} -% bars 1-3: -e22f zgn zb zef | -dn2- zbn+ zen | -dn4- zbn<1.5+ zen dn- zbnA<1.5+ zen X4 / -b24 zdf zef zgn | -bn2- ? zen zgs | -bn4- zen<1.5 zgs ? bn- zen<1.5 zgs X4 / - -% bar 4: -f8- ? za zc zf gd4f- zb zdf zgfd+0.5+2 / -cd4- zef zf za ? d8f- zgf zb zdf / - -% bar 5: -c4sAo ? zgs zes zbn ? X2 bn4 zes ? zgs zcs ?-2.9 Rb / -es2-u zgs zcs / -\end{verbatim} -\end{minipage} - \end{center} - \caption{Chords} - \label{fig:chords} -\end{figure} - -\subsection{Grace notes} \label{sec:graces} -_{grace notes} _{notes!grace notes} - -A grace note symbol starts with a \texttt{G}. It is entered in its -natural order, i.e.\ before the main note symbol for a normal grace, -behind the main note symbol for an after-grace . After -\texttt{G} comes any combination of the following options: - -\begin{itemize} - \item A single digit representing the number of notes\,% - \footnote{The \emph{maximum} number of notes in a grace is not - fixed, but depends on circumstances - (cf.~Section~\ref{sec:limits}); but up to 16 is - usually safe. - } - in the grace. The default is 1 . - \item \texttt{m} (for \texttt{m}ultiplicity) and a digit, - representing the number of flags or beams. The default is 1; 0 is - allowed. - \item -_{slurs!in grace notes} _{grace notes!slurs|see{slurs, in grace notes}} - \texttt{s} (for \texttt{s}lur): this joins all notes of the - grace to the main note. No \texttt{s} is needed in the main - note symbol. - \item \texttt{x} for a slash (only for single graces), - \item \texttt{l} or \texttt{u} to force the direction of the stem(s) - as desired. -\end{itemize} -Next comes the only required character, the first grace-note name. No -time value must be entered, but, if needed, an octave (relative or -explicit) or an accidental can be given as in a normal note. Second and -later notes must follow immediately in sequence, set apart by spaces, -likewise without any time value, and without any intervening symbols. - -\medskip -_{grace notes!`after'-grace} -`After'-graces (graces coming \emph{after} a main note) are entered -similarily to normal graces, with the same parameters as above; but in -addtion to the other parameters either an \texttt{A} (for -\textbf{A}fter) or \texttt{W} (for \textbf{W}ay-after) is entered, -before the grace note(s). - -After-grace symbols associate the grace note(s) with the \emph{prior} -main note and are therefore entered \emph{after} the main note symbol. - -\medskip -By default, {\PMX} will place graces or after-graces \emph{immediately} -before or after the main note, way-afters as far to the right as -possible before the next note or bar line. If either type of -after-grace is slurred, the slur will start on the main note and end on -the last one in the grace. - -_{grace notes!added space} -For a grace (\emph{not for an `after'-grace}), you can, if necessary, -add some space between the grace and the main note by inserting an -\texttt{X} followed by a unsigned decimal in the grace symbol\,% -\footnote{It doesn't matter where you insert this shift symbol, as long - as it makes syntactical sense; to state this more simply: the - \texttt{X}[\emph{n}] may \emph{not be inserted before a - number} and \emph{not after the leading note} of the grace. - - \noindent - This added space for a grace is indeed essentially a hard - space, so that -_{spacing!hard space in grace} - its name, - \texttt{X} , is quite appropriate. And, as with almost all - such cases, it is wise to keep in mind that `hard spaces' are - what their name implies: a hard -- or brutal, if you will -- - last resort if nothing else seems to help. Used unwisely, - adding a hard space to a grace is liable to produce rather - ugly results, as is exemplified in Fig.~\ref{fig:grace}. - }. - -\medskip -Examples for grace notes are displayed in Fig.~\ref{fig:grace}. - -\begin{figure}[!htb] - \begin{center} - \includegraphics[scale=.82]{eps/grace.eps} \\[2ex] - ------------------------------------------ -\begin{minipage}{380pt} -\small -\begin{verbatim} -w150m -Abepl -\\nobarnumbers\ -% -% Bar 1 -G3sm2g++ a b c4 f- G2slAe d c GsX1xb+ c / -% Bar 2 -Ga- g4 Gfs- g c G13sm3X3d e f g a b c d e f g a b c / -% Bar 3 -c2- G3slWb a b c2 of Rb / -% -\end{verbatim} -\end{minipage} - \end{center} - \caption{Grace Notes} \label{fig:grace} -\noindent ------------------------------------------------------------------------------------- -\end{figure} - -\subsection{Ornaments} \label{sec:ornaments} -_{ornaments} - -Symbols for ornaments are entered \emph{after} their associated note -symbol, separated, as usual, by a space\,% -\footnote{The ornament, although associated with a specific note, is - considered a separate \PMX\ symbol. - }. - -The ornaments available in \PMX\ are listed in Table~\ref{tab:Ornamenti} -and are illustrated in Fig.~\ref{fig:ornament}. - -\begin{table}[htbp] -_{breath} _{caesura} _{fermata} _{mordent} _{ornaments} _{pizzicato} -_{segno} _{shake} _{staccato} _{trill} _{accidentals!editorial} -_{accidentals!dubious} _{notes!dubious} -\begin{center} -\begin{tabular}{|p{5.0cm}|p{4.0cm\tt}|} - \hline - staccato & o. \\ \hline - tenuto & o\_ \\ \hline - accent & o> \\ \hline - sforzando & o\^\ \\ \hline - pizzicato & ou \\ \hline - spiccato & op \\ \hline - $\times$ & ox \\ \hline - $+$ & o+ \\ \hline - caesura${\,}^\dag$ & oc \\ \hline - breath${\,}^\dag$ & ob \\ \hline - upper fermata & of \\ \hline - lower fermata & ofd \\ \hline - shake & ot \\ \hline - mordent & om \\ \hline - mordent [right parenthesis before notehead] - & o) \\ \hline - appogiatura [left parenthesis before notehead] - & o( \\ \hline - trill${\,}^\dag$ & oT\emph{x} \\ \hline - implicit trill${\,}^\dag$ & oTt\emph{x} \\ \hline - segno${\,}^\dag$ & og\emph{x} \\ \hline -\end{tabular} - - \smallskip - \begin{tabular}{|p{5.0cm}|p{4.0cm\tt}|} - \multicolumn{2}{c}{editorial marks:} \\ \hline - editorial accidentals & oes oef oen \\ \hline - dubious accidental & oes? oef? oen? \\ \hline - dubious note & oe? \\ \hline - \end{tabular} - - \smallskip - \begin{tabular}{p{5.0cm}p{4.0cm\tt}} - ornament repetition${\,}^\dag$ - & : \\ - \end{tabular} - \end{center} - ${}^\dag$ See explanation in main text - \caption{Ornaments} \label{tab:Ornamenti} - \end{table} - -\begin{figure}[!htb] - \begin{center} - \includegraphics[scale=.82]{eps/ornament.eps} - \end{center} - \caption{Ornaments} - \label{fig:ornament} -\end{figure} - -All except the staccato, tenuto, down fermata and parentheses will -appear above the staff; staccato\,% -\footnote{In fact, the only difference between staccato and pizzicato is - the vertical positioning of the dot. - } -and tenuto appear just above or below the note head, depending on the -stem direction, the parentheses at the level of the note head, of -course. - -\medskip -The trill and segno symbol are special in that they may have additional -optional characters. Either trill symbol may include a decimal number to -specify the length of the wavy line indicating the duration of trilling, -in \verb#\noteskip#s . The default is 1 . Thus \texttt{oT0} will be a -\emph{tr} without any wavy line, and \texttt{oTt2} is a wavy line -of 2 \verb#\noteskip#s without any \emph{tr} symbol starting the wavy -line. - -\medskip -A segno may only be entered in the first (lowest) voice. It may be -immediately followed by a positive or negative integer, which indicates -a number of points that it will be offset horizontally; and it will -appear above every staff of the system. - -\bigskip -_{ornaments!repeated} -Once the ornament type has been specified, most ornaments can be raised -or lowered from their default position by appending a signed integer to -the symbol, giving the vertical offset in \verb#\internote#s. Caesura -and breath may in addition have a signed number, giving the horizontal -shift from default in notehead widths. These two ornaments also differ -from the others in their default horizontal position, which is $0.5$ -\verb#noteskip# past the note. - -\medskip -An ornament can be automatically repeated on a series of consecutive -notes, provided the notes are all in the same input block. To activate -this feature, terminate the first ornament symbol with \texttt{:} . Then -every note in that voice will have the same ornament until a -note is followed by the repeat terminator \texttt{o:} . - - -\subsection{Beams} \label{sec:beams} -_{beaming} - -_{beaming!forced} _{beaming!inhibited} -For the most part, \PMX\ automatically takes care of the details -of defining beams: selecting which notes are beamed together, -and setting the angle, direction, height, and -\emph{multiplicity} (the number of bars along the top or -bottom). However, one may define a \emph{forced} beam -- which -overrides {\PMX}'s selection of which notes are beamed together --- by surrounding the notes to be beamed with \texttt{[} and -\texttt{]} (with spaces, as usual). Conversely, if {\PMX}'s -selection is to beam notes, and you want to inhibit this for a -single note, add the option \texttt{a} to the note symbol -(cf.~Section~\ref{sec:otherparams}). - -\bigskip -One may also wish to edit certain features of a beam even when {\PMX}'s -grouping decision would otherwise be acceptable; this is done by adding -some parameters to \texttt{[} and \texttt{]} : - -_{beaming!parameters} -\medskip -The \texttt{[} can be followed, without space, by one or several of the -following options: - -\begin{itemize} - \item \texttt{u}, \texttt{l} or \texttt{f} will override {\PMX}'s - selection of the direction of the beam: - \begin{itemize} - \item \texttt{u} makes the beam go \emph{above} the noteheads - (\textbf{u}pper beam), - \item \texttt{l} makes the beam go \emph{below} the noteheads - (\textbf{l}ower beam), while - \item \texttt{f} will \textbf{f}lip the beam from whatever - \PMX\ would do automatically; - \end{itemize} - \item \texttt{h} forces the beam to be \textbf{h}orizontal; - \item \texttt{m} followed by a single digit (1, 2, 3 or 4) forces the - \textbf{m}ultiplicity of the beam; - \item\texttt{j} \textbf{j}oins a beam grouping to a prior one started - in another staff (cf.\ p.~\pageref{p:jumpbeam}). -\end{itemize} - -The beam symbol constructed so far can be followed, without space, by -one, two or three consecutive integers, each preceded with \texttt{+} or -\texttt{-} : - -\vspace*{-2ex} - \begin{enumerate} - \item first is an adjustment of the starting height; it is - given in \verb#\internote#s and may range from -30 to - 30, - \item the second is a slope adjustment (again in the range - from -30 to 30), - \item The third is an additional adjustment to the starting - height, given in units of the beam thickness. It may - range from 1 to 3 only. It always acts to - \emph{increases} the stem length. This would only be - used in rare cases, e.g.~to align consecutive - horizontal beams which have internal multiplicity - changes. An example is shown in Fig.~\ref{fig:beams}, bar - \emph{f}. - \end{enumerate} -Note that for technical reasons all three integers must always be given -\emph{with a sign} (even the last one, although it always is positive). -Note also that, since the meaning of these numbers is interpreted by -\PMX\ in their sequence, if you need only the second or only the third -number you \emph{must not omit} the preceding number(s), but rather give -explicit \texttt{0}'s for them. -\vspace*{-2ex} -\begin{figure}[!h] - \begin{center} - \includegraphics[scale=.82]{eps/beams.eps} \\[2ex] - ------------------------------------------ -\vspace*{-2ex} -\begin{minipage}{380pt} -\small -\begin{verbatim} -% Bar a: -f1s c f a c fs a c- b g+ b g [l+12-8 b-- g1++ b g ] Rd / -% Bar b: -[l f1s- c f a ] [u c fs a c- ] [f b g+ b g ] [ b-- g1++ b g ] Rd / -% Bar c: -[m4 f1s- c f a ] [m1 c fs a c- ] b g+ b g [h b-- g1++ b g ] Rd / -% Bar d: -[ f1s- c f a ][ c fs a c- ] [ b g+ b g ]-[ b-- g1++ b g ] Rd / -% Bar e: -[ fs-4x3nf c a+ c1 fs a c- ] b g+ b g b-- g1++ b g Rd / -% Bar f: -m3434 -cd84 c3 c6 c [+0+0+3 cd8 c3 c6 c ] [-1+0+3 cd8 c3 c6 c ] Rd / -\end{verbatim} -\end{minipage} - \end{center} - \caption{Beams} - \label{fig:beams} - \vspace*{-4ex} -\end{figure} -\pagebreak - -Here are some further possibilities regarding beaming: -\begin{itemize} - \item -_{xtuplet!beamed with other notes} _{beaming!in xtuplet} - \vspace*{-1ex} - By default, xtuplets (cf.~Section~\ref{sec:xtuplets}) are set - apart with their own beam. To beam an xtuplet together with - other non-xtuplets, just include it with the other notes in a - forced beam. - \item -_{beaming!rest within beamed notes} _{rest!in beam} - \vspace*{-1ex} - Rests may also be included within forced beams, provided they - are shorter than quarter rests, and of course that they come - \emph{between} the first and last notes under the beam. - \item -_{beaming!beamed groupings} - \vspace*{-1ex} - Sometimes one may wish to define beamed groupings with subgroups - joined by a single beam. The symbol \texttt{][} , standing alone - between two note symbols inside a forced beam, causes the - multiplicity to decrease to unity and immediately increase to - its natural value for the next note. An example of this, as well - as the beaming together with an xtuplet, can be seen in bar 2 of - the trombone voice of Fig.~\ref{fig:agon}~: the two - doubly-beamed groups connected by a single beam are generated by - \texttt{[ c15 c c ][ c c cx3 c c ]} . - \item -_{beaming!single-slope beam} - \vspace*{-1ex} - Related to this is a - \emph{single-slope beam group}, which is the same as described - in the previous item except that there is no connecting beam - between the beamed subgroups. For this option, the beamed - subgroups are separated by \texttt{]-[} standing alone between - two notes inside the forced beam. - \item -_{beaming!large jumps} _{beaming!up/down beams} - \vspace*{-1ex} - If there are large jumps in pitch between - notes in a beam within a single staff, as a matter of taste you - may wish to start the beam for example as an upper one and end - it as a lower. {\PMX} will never do this automatically, but you - can accomplish it by forcing the beam with appropriately - modified up/down-ness, starting level, and slope. If you use - this technique, there are two details to note: - \begin{enumerate} - \item if there are any intermediate multiplicity changes, - they will only be handled properly if the initially - specified up/down-ness is consistent with the vertical - position of the intermediate notes involved\,% - \footnote{This is due to a fundamental technical - limitation of \MusiXTeX. - }, - \item for proper appearance in crowded scores you may - wish to insert hardspace or shifts as described - in Section~\ref{sec:spacing}. - \end{enumerate} - - \item Beams cannot normally jump staves. But if that is -_{beaming!staff-jumping} \label{p:jumpbeam} - desired, start the beam normally in one voice, and - terminate the part of the beam in that voice with - \texttt{]j} . Then resume the beam in the other voice on - a neighboring staff with \texttt{[j}, ending that part - with the normal \texttt{]} . For staff-jumping beams, - it's OK to have just a single note inside one or both of - the partial beams. Each voice must, however, still have - the right number of beats, so you will probably need to - fill in the durations with blank rests after the first - members of the beam and before the second. - - \smallskip - With staff-jumping beams, some adjustment of the beam height and - slope will usually be required. Also, sometimes the up/down-ness - of the ending section must be overridden; you will know that - this is necessary if on your first try the ending is shifted - horizontally from the desired position. These editing commands - may sometimes produce unexpected results, and some iteration may - be required to get exactly what you want. - - \smallskip - An example of a staff-jumping beam is seen - in Fig.~\ref{fig:jumpbeam} . - -\begin{figure}[!bth] - \begin{center} - \raisebox{-0.75ex}{% - \includegraphics[scale=.82]{eps/jumpbeam.eps} - } - \end{center} - \caption{\textbf{A staff-jumping beam}} - \label{fig:jumpbeam} -\end{figure} - \item - If the option : (colon) is appended to the starting - symbol \texttt{[} for a forced beam -_{automatic beaming!} \label{p:autoforcedbeam} - (`automatic forced beaming'), then henceforth beams of - the same length will be force-beamed similarly in that - line of music \emph{until the end of the input block}. - Within an input block, the automatic forced beaming can - also be stopped explicitly by starting a new regular - forced beam. - - But remember that {\PMX} is actually quite good at - beaming notes in the manner a human musician would - normally expect; so it will be necessary to use this - facility only in the special cases when you want (or - need) beaming different from what {\PMX} provides on its - own. In such cases, consider this beaming automatism as - a kind of shorthand; as such, it will be really worth - your while only when you want to repeat the same - `non-orthodox' beaming an appreciable number of times. - - Regarding automatic forced beaming, you should also be - aware of the following: - - \smallskip - As with regular beams, you can have notes of different - durations beamed together in an automatic forced beam. - The rule in that case is: in the beams following the - initial one, the next sequence(s) of notes with the - \emph{same total duration time} as that of the notes - beamed together initially will then be beamed together - automatically. As usual, notes given without duration - will `inherit' their durations from the most recent note - with an explicit duration. - - All this is best seen in the following example: - - \vspace*{-2ex} - \begin{center} - \includegraphics[scale=.82]{eps/autobeam} \qquad , - \end{center} - - \vspace*{-3ex} - which is coded as follows: - - \vspace*{-4ex} - \qquad \begin{verbatim} - d85 e b a1 b c1 b a8 -[ d85 e ] b a1 b c b a8 -[: d85 e ] b a1 b c b a8 - d85 e b a1 b c1 b a8 / - d85 e b a1 b c1 b a8 Rd - \end{verbatim} - \vspace*{-3ex} - \nopagebreak - Note how the automatic beaming ends at the \emph{end of - the first input block}. -\end{itemize} - - \pagebreak -A last remark: - -\smallskip \noindent -{\PMX} was never intentionally designed to produce beams across -bar lines. -_{beams across bar lines} -\label{sec:beamjump} -However, in an (undocumented) exception, {\PMX} \emph{in some -cases} does accept beams that cross bar lines: as it turns out, -the machinery designed for staff-jumping beams may also be used -to force a beam across a bar line, whether the beam jumps to a -different staff or stays within the same staff. - -The syntax for that feature is applied in the obvious way, as -described on p.\ \pageref{p:jumpbeam}, and then applied -similarily in the single-staff example of Fig. -\ref{fig:Donjump}. - -\begin{figure}[!ht] \begin{center} -\includegraphics[scale=.82]{eps/Donjump.eps} \\[2ex] ------------------------------------------------------------------- -\begin{minipage}{360pt} \small - \begin{verbatim} - cd24 c8 [+0+1 c ]j | [jf c d e f ] - g4 g8 [+0-1 g8 ]j / [j f84 e d c ] c2 / - \end{verbatim} -\end{minipage} \end{center} - -\hspace*{-2ex} -\caption{An example of bar-crossing beams within a single staff} - \label{fig:Donjump} -\end{figure} - -% \addcontentsline{toc}{chapter}{Index} - - -\subsection{Slurs and Ties} \label{sec:psslurs} -_{slurs} - -\subsubsection*{Pick a package} \label{sec:postscriptpackages} -\addcontentsline{toc}{subsubsection}{Pick a package} -_{dynamic marks!hairpin!length limit} _{hairpins|see{dynamic marks}} - -By default \PMX\ will use {\MusiXTeX}'s built-in, font-based slurs and -_{ties|see{psslurs}} -hairpins (crescendi and diminuendi, see Section~\ref{sec:dynamics}, -p.~\pageref{p:dynamics} ff). To use these, you don't have to install any -more software. But they do have drawbacks: the fonts used by {\MusiXTeX} -for font-based slurs come in fixed sizes and shapes and are therefore -often not flexible enough in complicated situations. In contrast, slurs -and hairpins produced with the help of the PostScript language overcome -many of the shortcomings of their font-based counterparts. - -_{slurs!PostScript} _{PostScript!slurs, ties and hairpins} -There are two independent ``third-party'' packages that provide -{\MusiXTeX}~\texttt{1.15} and {\PMX} users with PostScript-based slurs, -ties, and hairpins: -\begin{description} - \item[\emph{Type K} --] \label{sec:pss-K} -_{Kneifl, Stanislav} - This package was written by \textbf{Stanislav Kneifl}. It is - directly supported by \PMX\ and will be the focus of any future - \PMX\ enhancements. Detailed instructions for its use are given - in the corresponding paragraph below. - \item[\emph{Type M} --] -_{Morimoto, Hiroaki} - This package, by \textbf{Hiroaki Morimoto}, is somewhat more - flexible when used directly in {\MusiXTeX}~\texttt{1.15}, but - it requires the \textbf{Metapost} package to be installed in - the {\TeX} installation. These are not directly supported by - {\PMX}, but are advertised to be fully compatible with default - font-based slurs of {\MusiXTeX}~\texttt{1.15} . From {\PMX}'s - standpoint they are not different from font-based slurs, and - the same options and features that apply to font-based slurs - should apply as well to these. -\end{description} - -Both PostScript slur packages provide excellent slurs, ties and -crescendi. \label{p:usepsslurs} In fact, for simple slurs, you can -hardly discern the differences between the three possibilities, as can -be seen in Fig.~\ref{fig:psslurs1} --- although type M slurs are generally -somewhat flatter, indeed. On the other hand, for steep and long slurs, -the difference is appreciable, as can be seen in the example of -Fig.~\ref{fig:psslurs2}. - -\begin{figure}[!htb] - \begin{center} - \includegraphics[scale=.82]{eps/cslurs1n.eps} - - \includegraphics[scale=.82]{eps/cslurs1k.eps} - - \includegraphics[scale=.82]{eps/cslurs1m.eps} - \end{center} - \caption{Three realizations of simple slurs} - \label{fig:psslurs1} -\end{figure} - -\begin{figure}[!htb] - \begin{center} - \includegraphics[scale=.82]{eps/cslurs2n.eps} - - \includegraphics[scale=.82]{eps/cslurs2k.eps} - - \includegraphics[scale=.82]{eps/cslurs2m.eps} - \end{center} - \caption{Three realizations of exotic slurs} - \label{fig:psslurs2} -\end{figure} - -\bigskip -Here are some additional factors to consider when deciding which type of -slurs and hairpins to use with {\PMX}: -\begin{itemize} - \item True ties, which are shaped differently from slurs, are only - available with Type K\,% - \footnote{In {\MusiXTeX}~\texttt{1.15}, font-based - true ties are actually available; but they were never - incorporated in {\PMX}, now being superceded by type K - slurs. - }. In all cases, the starting and ending - positions are different for ties and slurs\,% - \footnote{The ends of an ordinary slur are centered horizontally - above or below the notehead, while tie ends are - shifted inboard and closer to the midheight of the - notehead. - }. - \item Font-based hairpins cannot wrap over a line break, but the - PostScript ones can. - \item Font-based hairpins cannot be longer than 68 mm. - \item With either postscript package, the resulting markings do not - show up on the screen if you view the score with one of the - commonly used DVI viewers such as \textbf{XDVI} or \textbf{YAP}. - To see them, you have to first produce a PostScript file from - the \texttt{dvi} file (using, for example, \textbf{dvips}), which - you can then view on the screen and print on your printer using - \textbf{Ghostview} or some other such program. But if you use - Type 1 PostScript fonts, as was recommended in - Section~\ref{sec:psslurs}, you will have all this software at - hand anyway! -_{PostScript!fonts} -\end{itemize} - -Detailed instructions for installing the Type K or Type M packages are -given in Section~\ref{sec:pss-K} . - -\subsubsection{General slur usage} -_{slurs!general usage} - -This subsection explains commands that apply to all types of slurs, -followed by separate subsections describing operational features -specific to either font-based or Type K slurs, and finally a subsection -on the use of Type M slurs. - -\medskip -Here are the {\PMX} symbols that normally define slurs or ties, except -for slurs to or from graces\,% -\footnote{Recall that the slurring of grace notes is defined - entirely within the the grace symbol, as described in - Section~\ref{sec:graces}. - }: -\begin{itemize} - \item An opening parenthesis, `\texttt{(}', begins a slur, and a - closing parenthesis, `\texttt{)}', ends it; similarly, an - opening brace, `\verb#{#', begins a tie, and a closing brace, - `\verb#}#', ends it. The opening parenthesis/brace is placed - \emph{before} the first note, and the closing parenthesis/brace - \emph{after} the last note of the slur or tie. As always, these - symbols (including options, see below) are separated from notes - and other symbols by spaces. - \footnote{Braces -- and similarly the tie toggles described - subsequently -- , although legal with all types of - slur, are really useful only with Type-K slurs, since - only with these they will produce a true tie. - } - \item Alternatively to parentheses, you can use the letter - \texttt{s} (for \textbf{s}lur) both to begin \emph{and} - end a slur; but these come \emph{after} both the - beginning \emph{and} ending note. This is thus a - \emph{toggle}, turning a slur off if it's on, and - starting a new one otherwise. - - For ties (instead of slurs), use the letter - \texttt{t} (for \textbf{t}ie), also a toggle. - \label{p:tslur} -\end{itemize} - -Note that slurs or ties may end on a rest\,% -\footnote{If you happen to think that this would be musically - meaningless, you are wrong. Just watch a really good pianist - (or conductor, for that matter) ending a piece, say in pp. It - ain't over until the fat lady has really finished singing: - until she is really \emph{completely} \emph{done} with taking - her hands off the keyboard! In other words: she visibly (and - audibly!!) plays the slur over the final rest. - }, -but they may \emph{not start} on one. -_{slur!ending on rest} _{tie!ending on rest} -The default ending height of the -tie (or slur) in that case will be that of the note on which it started -(in other words, it will be horizontal); but you can vary that -explicitly in the usual way. - -\bigskip -Often you need to open a slur or tie while another one is already open -\emph{in the same voice}, e.g., with tied chords, or if a second slur -connects a subgroup of notes within a longer slur. In such cases, {\PMX} -needs to be told which slur is which. For this purpose, the slur opening -character [ \texttt{s}, \texttt{t}, \texttt{(} ] can -optionally be followed by a single-character ID code [ \texttt{0-9}, -\texttt{A-Z} ] to identify that particular slur. To close that slur, -insert the ID code right after the corresponding \emph{closing} -character [ \texttt{s}, \texttt{t}, \texttt{)} ]. If an ID code is -used, it \emph{must} be the second character in the symbol. You cannot -use any ID that is already in use on a slur or tie for a new slur or -tie. See Fig.~\ref{fig:bloch} for an example\,% -\footnote{The example uses Type K slurs. - }. - -\begin{figure}[!htb] -\begin{center} - \includegraphics[scale=.82]{eps/bloch.eps} \\[2ex] - ------------------------------------------ -\begin{minipage}{380pt} -\small -\begin{verbatim} -Ap -% Bar 25: -(A e4x3n g bff cf4x3n b g )A (B e4x3n bf e / -f8+ (C zf+ e- ze+ c4nc- zcnc+ (Dtl b- D< (Et zb+ / -% Bar 26: -g4x3n an g e4x3n b e g4x3n a g )Bh Rb / -b4- )Dt D< zb+ )Et )C dd4- D< (F+1 zd+ o_ e8- D< ze+ )F / -% -\end{verbatim} -\end{minipage} -\end{center} - - \vspace*{-3ex} -\caption{\textbf{E.\ Bloch}, \emph{Waves} (\emph{Poems of the Sea} I), - bars 25,26 - } \label{fig:bloch} -\end{figure} - -\bigskip -Normally, you can leave further details of slur appearance to {\PMX}; -the result will usually satisfy. If not, you can change some features -manually by additional options which go right after the initial character -and any ID code, as usual \emph{without} a space,: - -\begin{itemize} -_{slurs!additional options} - \item The default vertical position above or below the note heads - can be overridden with - \begin{itemize} - \item \texttt{u} (\textbf{u}pper), - \item \texttt{l} (\textbf{l}ower) or, equivalently, - \texttt{d} (\textbf{d}own). - \end{itemize} - \item The starting or ending point can be shifted from its - default by entering one or two explicitly signed numbers: the - first, which must be an integer, gives the vertical shift, in - \verb#\internote#s; the second, which may be decimal, the - horizontal offset, in notehead widths. - \item A dotted slur is obtained by adding the option \texttt{b} (for - \textbf{b}roken) in the symbol that starts the slur - (cf.~Fig.~\ref{fig:dottedslur}). -\end{itemize} -\begin{figure}[!htb] -\begin{center} - \includegraphics[scale=.82]{eps/dottedslur.eps} \\[2ex] -\begin{minipage}{380pt} - \small - \begin{verbatim} - ( g44 c ) (b [ e8 d c b ] ) | (u a4 f ) g2 Rb / - \end{verbatim} -\end{minipage} -\end{center} - - \vspace*{-3ex} - \caption{A dotted slur} \label{fig:dottedslur} -\end{figure} - -\paragraph{Slurs for staff-jumping beams} \text{} \\[-2ex] -_{slurs!with staff-jumping beam} - -Often -- in piano music in particular -- when you have a staff-jumping beam -(cf.~p.\pageref{p:jumpbeam}), you may want to join the two parts by a -slur as well. {\PMX} will, however, get very confused if you try to put -the beginning slur symbol in one staff and the corresponding ending -symbol in a different staff; both slur symbols \emph{must always be in -the same staff}. The solution is to put the ending slur symbol after -the invisible rest; but do so carefully: even though the invisible rests are -indeed invisible, {\PMX} accounts for the horizontal space it would need -for visible rests, and that determines the length of the slur. So if you -want to avoid awkwardly adjusting the length of the slur by hand, you -should subdivide the invisible rest appropriately so that one part of it -will be at the note of the other staff where you want the slur to end. -The vertical position of the slur end will have to be done manually. -Fig.~\ref{fig:jumpslur} shows an example. - -\begin{figure}[!htb] -\begin{center} - \includegraphics[scale=.82]{eps/jumpslur.eps} \\[2ex] -\begin{minipage}{380pt} - \small - \begin{verbatim} -r4b [j b1 a g f ] r4b [j c14 b a g ] | Rb / -( [ f1 e d D"what you want"-22 c ]j r1b r1b r1b r1b )-15 -( [ g14 f e D"what you don't want"-22 d ]j r4b )-15 | / - \end{verbatim} -\end{minipage} -\end{center} - \caption{Placing the slur ending with a staff-jumping beam} - \label{fig:jumpslur} -\end{figure} - -\subsubsection{Invoking and using Type K slurs} \label{sec:pss-typeK} -_{slurs!Type K usage} _{PostScript!slurs, ties and hairpins} - -To activate the Type K package, all you need to do is to add a line in -the header of the {\PMX} source after the preamble, containing the -symbol \texttt{Ap}\,% -\footnote{For further details on the use of \texttt{A} see - Section~\ref{sec:A} . - }. - -\bigskip -For type K slurs, some optional parameters can be used in the slur -symbol to change the shape of the slur: -\begin{itemize} -_{slurs!additional options} - \item an \texttt{f} (for \textbf{f}latter) will flatten the slur a - bit, while - \item \texttt{h, H} or \texttt{HH} (for \textbf{h}igher) will - increase the slur's curvature by increasing degrees, thereby - raising (or lowering) its middle. -\end{itemize} -These parameters can be used in either the starting or the ending slur -symbol. They \emph{do not work with ties}, i.e.\ with symbol \texttt{t}, -and {\PMX} will complain if you try that. Examples are given in -Fig.~\ref{fig:kslurs}. - -\begin{figure}[!htb] - \begin{center} - \includegraphics[scale=.82]{eps/kslurs1.eps} - - \includegraphics[scale=.82]{eps/kslurs2.eps} - \end{center} - \caption{Shape variations in type K slurs} - \label{fig:kslurs} -\end{figure} - -\medskip -The Type K package contains {\TeX} macros that activate or deactivate an -automatic vertical adjustment of slurs or ties to avoid tangencies with -staff lines. In {\PMX} these adjustments are switched off by default, -because they may alter the endpoint positions from what you would -normally expect. However, if you wish to use them, they may be switched -on or off globally at the start of any input block, and locally with -options to individual slur or tie commands. - -To activate these adjustments globally (or deactivate, if previously -activated), at the beginning of any input block enter \texttt{Ap+s} (or -\texttt{Ap-s}) for slurs, and \texttt{Ap+t} or (\texttt{Ap-t}) for ties. -To activate them for one-time use only, simply include \texttt{p+t} or -\texttt{p+s} as an option in the symbol for the affected slur or tie. No -deactivation is then needed. - -You can also sequentially increase (\texttt{Ap+c}) or decrease -(\texttt{Ap-c}) the default curvature of slurs or ties (again at the -beginning of any input block), so that the result is cumulative. But -after the cumulative change has reached ``HH'' or ``ff'', it will remain -there, and nothing more will happen. - -An example is given in Fig.~\ref{fig:kslurtweaks}. The distinctions are -fairly subtle; but some would see the adjusted markings as more pleasing -since on close inspection they clearly avoid tangencies with staff -lines. - -\begin{figure}[!htb] -\begin{center} - \includegraphics[scale=1.0]{eps/kslurtweaks.eps} \\[2ex] -\begin{minipage}{380pt} - \small - \begin{verbatim} - Ap - a44 s bu s | b s c s / - Ap+s - a4 s bu s | b s c s / - % - a4 t a t | b t b t / - Ap+t - a4 t a t | b t b t / - \end{verbatim} -\end{minipage} -\end{center} - \caption{Vertical tweaks of slurs and ties} \label{fig:kslurtweaks} -\end{figure} - -\paragraph{Line-break tie options} \text{} \\ -_{line break!tie options} _{slurs!across line break} -There are two options that only affect ties that span line breaks: -\begin{enumerate} - \item by default a full tie is drawn at the beginning of the second - line in such cases. There is a global option, \texttt{Ap+h}, - which tells {\PMX} to use \emph{half ties} -- which are - flattened at their left-hand ends -- on the second line, but - \emph{only} in cases where the second tie segment is shorter - than 15 pt. This option may be cancelled with \texttt{Ap-h} , - \item the second option -- which should not be used together with the - first one! -- affects \emph{both} the first and second segments - of linebreak slurs and ties. It is the global option - ~\texttt{Apl}. It alters two defaults to give what some might - consider an improved appearance: first, it causes the first - segment to be drawn as a normal tie, whereas by default it has - a different shape than a normal tie; second, it moves the - starting point of the second segment a bit to the left. - - \medskip - The \texttt{Apl} option has been enhanced since {\PMX} - version 2.411; the main new feature is that it now - works for slurs as well as for ties. Other - enhancements are more subtle; read the description of - these in the announcement text for version 2.411, given - here: - \begin{quotation} - ``\texttt{Apl} in the preamble now activates - special treatment of line-break slurs and ties - (before, \texttt{Apl} only affected ties.). - - ``Specifically, it enables tweaking the ending - position of the first segment (seg 1), the - starting position of the second (seg 2), and the - curvature of either, or both. [You must have - musixps.tex available to {\TeX}!] With - \texttt{Apl} every slur/tie at a line break is - automagically broken into two separate ones (no - additional PMX slur start or ending commands are - required). Vertical/horizontal tweaks to the - start of the seg 1 and the end of seg 2 are - handled as before. Vertical/horizontal tweaks - for the end of the seg 1 and start of seg 2 are - entered as options in the otherwise normal - command that starts the slur/tie. The option for - the end of seg 1 starts with "s" (for sever or - split), then the usual one or two signed - numbers, then a second "s" and one or two more - signed numbers for the start of seg 2. - - ``The usual curvature options \texttt{h}, - \texttt{H}, \texttt{HH}, \texttt{f}, if included - in the starting command for a linebreak slur, - will apply to seg~1, and if in the closing - command, to seg~2. Of course, if the slur/tie - does not come at a linebreak, the special - position tweaks (those after the "s" option) - will all be ignored, and the curvature tweaks on - the closing note take precedence (as before).'' - \end{quotation} -\end{enumerate} -\Note{Without either of these options, the second segment sometimes - becomes too short to be clearly visible. - } - -\bigskip -The global options mentioned (and in fact any of the other global -options to be described later) can be combined into a single symbol, -e.g., \texttt{Ap+sl}. - -\subsubsection{Use of Type M Slurs and Ties} \label{p:useMslurs} -_{slurs!Type M usage} _{PostScript!slurs, ties and hairpins} - -In contrast to the type K slurs, type M slurs are not explicitly -supported by {\PMX}; as a consequence, you have to do some things -manually. But it's not difficult: -\begin{itemize} - \item -_{\textbf{musixpss}} - The first step is to insert into the header of your {\PMX} - source file the following line \\ - \text{\hspace*{10em}} \verb#\\input musixpss\relax\# \qquad . - \item -To process a {\PMX} file with type M slurs, three extra steps are -needed to produce a printed musical score. Here is the full sequence of -processing steps, for a file named \verb#my_opus#: - -\begin{center} -\begin{tabular}{r@{\qquad}ll@{\qquad\qquad}l} - & command & & resulting new file(s) \\ \hline - & & & \\ - 0. & text editor & & \verb#my_opus.pmx# \\ - 1. & \verb#pmx# & \verb#my_opus# & \verb#my_opus.tex# \\ - 2a. & \verb#tex# & \verb#my_opus# - & \verb#my_opus.mx1, my_opus.slu# \\ - 2b. & \verb#musixflx# & \verb#my_opus# & \verb#my_opus.mx2# \\ - 2c. & \verb#tex# & \verb#my_opus# & \verb#my_opus.dvi# \\ - $\to$ 3a. - & \verb#musixpss# & \verb#my_opus# & \\ - $\to$ 3b. - & \verb#mpost# & \verb#my_opus# - & \verb#my_opus.mp, my_opus.1, #\dots \\ - $\to$ 3c. - & \verb#tex# & \verb#my_opus# & \verb#my_opus.dvi# \\ - 4a. & \verb#dvips# & \verb#my_opus# & \verb#my_opus.ps# \\ - 4b. & \verb#gsview# & \verb#my_opus# - & \emph{screen view and printed output} \qquad . \\ -\end{tabular} \end{center} -\end{itemize} - -\subsubsection{Special considerations for font-based slurs} -_{slurs!font-based} - -You should study this section if you choose not to use Type K PostScript -slurs. - -\medskip -The slur command \texttt{t} (cf.~p.\pageref{p:tslur}) has been retained -for backward compatibility with earlier {\PMX} versions. As already -mentioned, with font-based slurs it does \emph{not} provide a true tie -at all, and it doesn't alter the positions of the endpoints either; in -fact, it differs from \texttt{s} or \texttt{(} only in the following -ways: -\begin{itemize} - \item ID codes cannot be used with font-based \texttt{t}-slurs. - \item If a \texttt{t}-slur starts or ends on the same note as an - \texttt{s}-slur, the former will be moved away from the - notehead to avoid a collision. This only works if neither - slur has an ID code. -\end{itemize} -The shape of font-based slurs can be changed with options to the -\texttt{s} or \texttt{)} command as follows: -\begin{itemize} - \item at the slur termination only, you must first enter two signed - numbers that define a position shift as described earlier. Enter - a zero for either or both if you don't want the shift, - \item next, enter a signed, nonzero integer which specifies a vertical - adjustment to the mid-height of the slur in \verb#\internote#s, - \item if you want to alter the starting or ending slope, enter a - \texttt{:} (colon), then - \begin{enumerate} - \item a signed integer for the alteration to the starting - slope, then - \item a signed integer for the alteration to the ending - slope. - \end{enumerate} -\end{itemize} -These numbers are passed directly as arguments of the {\MusiXTeX} macros -\verb#\midslur# (if only one is given) or \verb#\curve# (if there are -three). - -\bigskip -If you want to \emph{simulate a tie} with font-based slurs -- {PMX} does -not proved true ties with font-based slurs! -- include the option -\texttt{t} in both the starting and ending command for the slur\,% -\footnote{For reasons of backward compatibility, it is legal - to specify a tie with the symbol \texttt{st} or \texttt{(t} - even when PostScript ties are activated. In that case, these - symbols are fully equivalent to simply using \texttt{t} . - }. -This will draw a slur with altered endpoint positions. - -\subsection{Dynamic Marks} \label{sec:dynamics} -_{dynamic marks} _{D symbol@\texttt{D} symbol} - -{\PMX} has a very simple tool for inserting virtually any dynamic mark -in a score. Its \texttt{D}ynamics symbol is a \texttt{D}, followed one -of 3 types of parameters, optionally followed by position shifts: -\begin{enumerate} - \item \textbf{A standard dynamic mark :} this can be any one of the - following: - \texttt{pppp, ppp, pp, p, mp, mf, f, ff, fff, ffff, sfz, fp}. -\pagebreak - \item -_{dynamic marks!hairpin} _{crescendo|see{dynamic marks}} -_{decrescendo|see{dynamic marks}} - \textbf{A crescendo/diminuendo :} \texttt{<} or \texttt{>}. - These crescendo/decrescendo marks -- aptly named ``hairpins''-- - are \emph{toggles}, i.e.\ the first \texttt{D<} starts the - crescendo, and the next \texttt{D<} ends it; similarily for - \texttt{D>}. - \Note{As of version 2.616 {\PMX} allows hairpin - dynamics to span input blocks! - } - \item _{dynamic marks!textual} \textbf{Arbitrary text :} - \texttt{"\dots\"}, where \, \dots \, stands for any - text string, e.g.~\texttt{D"}molto - espressivo\texttt{"}. The text will be set in italics - unless another \TeX-style font specification is - included\, - \footnote{A practical example is \texttt{D" - $\backslash$ppff fz"} - (cf.\ \href{http://icking-music-archive.org/% - software/pmxtricks/dynamic.pdf}% - {Tips and Tricks}). - }. - \end{enumerate} - -All dynamics symbols go \emph{after} the note to which they refer (so -e.g.~\texttt{g Dpp} will write a pianissimo g). Hairpin marks -must be contained \emph{completely within the same input block}?,% - \footnote{If need be (e.g.\ for crescendi/decrescendi across bar - lines), you can adjust the position and length of a - crescendo/decrescendo by adding position shifts as - described. - } - -\medskip -The default position of any dynamic mark or text entered with the -\texttt{D} symbol is just below the notehead, stem end, or bottom staff -line, whichever of these is lowest. There are numerous context-sensitive -automagic adjustments to the positions of all the dynamics symbols. If -you don't like the result you can add position shifts to the dynamics -symbol: a signed integer for a vertical shift (in \verb#\internote#s), -then -- optionally -- another signed number for a horizontal shift (in -notehead widths). - -\medskip - -There can be a combination of dynamic marks at a single note\,% -\footnote{It doesn't make sense, of course, to have 2 different standard - dynamic marks on the same note, and {\PMX} will complain if - you try that. - }. -Since these are distinct {\PMX} symbols, they must be separated by -spaces and must come in the right order, e.g.\ -\begin{center} -[\emph{some notes}] \texttt{D<} [\emph{more notes}] \texttt{D< Dffff D>} -[\emph{more notes}] \texttt{D>} -\end{center} - -\bigskip -If you aren't using PostScript slurs, there are some restrictions on -hairpins which are due to {\MusiXTeX}'s use of font-based hairpins: they -cannot be longer than 68mm, they cannot wrap over a system break, and -they must be horizontal. Finally, only certain specific lengths are -available, so some horizontal position tweaking may be needed, -especially when standard dynamic marks and hairpins are combined. -These restrictions don't apply when using one of the PostScript slur -packages; PostScript hairpins will then be used without any further - \label{p:dynamics} -intervention\,% -\footnote{For details on invoking PostScript slurs, ties and hairpins - cf.\ Section~\ref{sec:psslurs} ff. - }. -Fig.~\ref{fig:dynamics} (a fragment from the \emph{Pathetique} by -Tschaikowsky) shows some examples\,% -\footnote{Fig.~\ref{fig:dynamics} was obtained using the PostScript slur - package type K. -_{PostScript} - }. - -\begin{figure}[!htb] - \begin{center} - \includegraphics[scale=.82]{eps/pathetique.eps} \\[2ex] - ------------------------------------------ -\begin{minipage}{380pt} -\small -\begin{verbatim} -% Bar 1 -r2 D"Adagio"+16 r4 e8-- Dpp-1 D< s f D< D>-1 s / -% Bar 2 -g4 D>-1 s f2 s D<-1 f8 s D<-1 Dp-1 g s D>-2 / -% Bar 3 -a4 s D>-2 D<-2 g2 s D<-2 g8 s Dmp-1 D<-1 a s / -% Bars 3-4 -b4 D<-1 D>-1 asd2 D>-1 D<-1 / -% Bars 5-6 -b0 st D<-1 Dsfz-1 D>-1 | b8 st D>-1 Dp-1 r r4 r2 Rb / -% -\end{verbatim} -\end{minipage} - \end{center} - \caption{Dynamic marks} \label{fig:dynamics} -\end{figure} - -\subsection{Clef Changes} \label{sec:clefs} -_{clefs!change} _{C symbol@\texttt{C} symbol} - -\begin{figure}[!htb] - \begin{center} - \includegraphics[scale=.82]{eps/clefchg.eps} \\[2ex] - ------------------------------------------ -\begin{minipage}{380pt} -\small -\begin{verbatim} -2 1 4 4 0 6 0 3 -1 1 20 0 - -bt -./ -Ap -w180m -% -a12 sh c e a e a c e sh -Ct f s g a f g a b g s Rd / -a25 sh f4 d sh / -% -\end{verbatim} -\end{minipage} - \end{center} - \caption{A clef change} \label{fig:clefchange} -\end{figure} - -As was noted in Section~\ref{sec:preamble}, the clef for each instrument -is given in the preamble (cf.~p.~\pageref{p:clefs}). A clef change in -mid-stream, however -- frequently occurring in piano music --, is -signaled by a \texttt{C} followed by a single lower-case letter, as -illustrated in Fig.~\ref{fig:clefchange}. - -\bigskip -_{clefs!change with two voices in a staff} -When there are two voices in a staff, the clef change command must be -given in the \emph{first (lower) voice}; if it is entered in the second -voice, {PMX} will \emph{silently disregard} the clef change completely. -The clef change holds for all voices in a staff, of course. - -\medskip -A logical effect is worth mentioning: when, before the clef -change, there is a note the duration of which extends beyond -the point of the clef change, its clef does not change. -Fig.~\ref{fig:clefchgtwo} shows an example of such a situation. -\begin{figure}[!htb] - \begin{center} - \includegraphics[scale=.82]{eps/clefchg2.eps} \\[2ex] - ------------------------------------------ -\begin{minipage}{380pt} -\small -\begin{verbatim} -c43u Ct a44u cu au // -f02 / -Cb rb4 Ct e4u au eu // -c23l r2-6 / -% -\end{verbatim} -\end{minipage} - \end{center} - \caption{A clef change in a staff with 2 voices} - \label{fig:clefchgtwo} -\end{figure} - - -\subsection{Octaviation} \label{sec:octaviation} -_{octaviation} - -When in a voice the pitch of a number of notes extends far beyond the -staff, resulting in an excessive number of ledger lines, readability is -usually improved by using an `octaviation' notation: an -horizontal line above the staff, starting with an ``\emph{8}'' or -``\emph{8va}'', indicates that the notes under this line are to be -played an octave higher than printed, and similarily ``\emph{8 bassa}'' -or ``\emph{8va bassa}'' indicate an octave lower. - -\medskip -In the present version, {\PMX} does not provide a notation for this, so -you will have to take recourse to inline {\TeX} coding. For an example -see Section~\ref{sec:tricks}. - - -\subsection{Figured bass (basso continuo)} \label{sec:bassocontinuo} -_{figured bass} _{basso continuo|see{figured bass}} - -{\PMX} lets you introduce the basso continuo notation (`figured bass') -very simply, as illustrated in the example of Fig.~\ref{fig:poppea}, which -is the basso continuo of an excerpt of the famous aria ``\emph{Pur ti -miro}'' that concludes the Monteverdi opera \emph{L'Incoronazione di -Poppea}. Here are the rules: - -\begin{itemize} - \item Figure symbols are entered -- as plain numbers\,% - \footnote{As of {\PMX} version 2.520, the numbers usually - needed in figured notation, namely 2, 4, 5, 6 and 9, - are available in a different graphic design with - perhaps a more baroque-like look. - - If you want to use these, add an `\texttt{s}' after - the {\PMX} string of every figure which you want to - appear in that form. - - Note that for this to work properly, you must have - the special fonts for these numbers installed. You - will find \texttt{figbas.zip}, which provides these - fonts, in the - \href{http://icking-music-archive.org/software/% - musixtex/add-ons/figbas.zip}{WIMA} software page. - \texttt{figbas.zip} contains 2 files that can be of - help with the installation: \texttt{README} and - \texttt{test.tex} . - } -- - \emph{after} their associated note symbols, with - a space, as usual. As of {\PMX} version 2.517, they are allowed - in two staves, the first (lowest) staff and any other one. - Enter the characters as they would appear from \emph{top to - bottom}, e.g.\ \verb%64% [\,6 over 4\,], or \verb%642% [\,6 - over 4 over 2\,]. - \item Accidentals that modify a number \emph{must} be entered - \emph{before} the number. Note that the characters that - signify accidentals are different here than for notes: flats - are written as `\verb#-#' (minus), sharps as \verb&#& , and - naturals as \verb%n% . For example, \emph{sharp third} is - \verb& (or simply \verb&#&, in the standard shorthand), - \emph{six} (over) \emph{flat five} is \verb%6-5%, and - \emph{sharp six} (over) \emph{4} is \verb@& . - \item For each staff with figures, {\PMX} positions all the figures - within each system below the staff with their tops at the same - level. If you want to change this vertical position default, - you have two possibilities: - \begin{description} - \item[to lower a figure symbol:] prefix the figure symbol - -- \emph{no space!} -- with one or several `\verb#_#' - (underscore). Each underscore will lower the figure symbol - by 4 lengths of \verb#\internote# , - \item[to raise a figure symbol :] \emph{append} the figure - symbol -- \emph{again no space} -- with a `\verb#+#' (plus) - followed by an integral number for the number of - \verb#\internote# lengths by which to raise the figure. - \end{description} - The two options can be combined to provide full control over - the vertical position of the figure symbol. - \item If you want a figure symbol to align horizontally in - the second tier, insert a `\verb&_&' (underscore) as placeholder - for the top tier, before the one you want to go on the second - tier (cf\ the sharp in bar 16 of Fig.~\ref{fig:poppea}). - \item Sometimes you may need to enter a figure when there's no bass - note sounding. To do this, \emph{precede} the figure symbol - with three additional characters, \verb%x%[\emph{n}][\emph{m}]. - Here \emph{n} is a single-digit repeat count, and \emph{m} is a - single-digit duration time value, i.e., \verb#0,2,4,8,1# or - \verb#3# . This will offset the figure from the associated note - by the specified duration value. For example, if the lowest - voice contained \verb%c03 x3465%, there would be a whole-note - c, and 3 quarter notes later a figure 65 below the staff - (cf.~Fig.~\ref{fig:poppea}, bars 2, 4, 6, 8, 10 and 14). - \item -_{figured bass!continuation} - There is also a \emph{continuation} symbol, viz.\ a \verb&0& - (zero) followed immediately by an unsigned number. This - produces a horizontal line under the bass note, starting just - to the left and extending to the right by the given number of - \verb&\noteskip&'s (cf.~Fig.~\ref{fig:poppea}, bars - 9, 11, 16 and 17). The height and length of the line are set by - the current note's level and \bs\texttt{noteskip} - respectively\,% - \footnote{If \bs\texttt{noteskip} changes, or if an unfigured - note drops below the starting level before the line - ends, it is possible to trick {\PMX} by entering - separate \texttt{0}[\emph{n}] symbols under each - consecutive note: {\PMX} will automagically join them - together at the lower height (thanks to Werner Icking - for this idea). - - For an explanation of the special {\PMX} coding in - Bar 16 of Fig.~\ref{fig:poppea} see - Section~\ref{sec:tricks} . - }. - These can be mixed in with other figures to produce vertical - stacks. If another figure follows in the same symbol, use - {\tt:} as a separator. For example, a continuation line over a - 3 would be coded as \texttt{01:3} . -\end{itemize} -\begin{figure}[!htb] - \begin{center} - \includegraphics[scale=.82]{eps/poppea.eps} \\[2ex] - ------------------------------------------ -\begin{minipage}{380pt} -\small -\begin{verbatim} -% bars 1-4 -gd2 fd 6 | ed 5 x126 dd 4 x123 | gd fd 6 | ed 6 dd 4 x123 | / - -% bars 5-8 -gd2 fd 6 | ed 64 x123 dd | gd fd 6 | ed 64 x123 dd | / - -% bars 9-12 -gd2 02 fd | ed 6 dd 7 | gd fd 6 | gd ad 4 x12# | / - -% bars 13-15 -dd- gd | gd 03 fd | ed dd 4 x12# | / - -% batt. 16-17 -cd- dd 64 x145 x12_00.2 x12_# | gd fd 01 Rd / -% -\end{verbatim} -\end{minipage} - \end{center} - \caption{Figured bass in \textbf{C.\ Monteverdi}, - \emph{L'Incoronazione di Poppea}, - aria ``\emph{Pur ti miro}'' - } \label{fig:poppea} -\end{figure} - - -_{F symbol@\texttt{F} symbol} _{\textbf{scor2prt}} -If there are figured bass commands in a {\PMX} file, but you want them -all to be ignored, then enter the symbol \texttt{F} in the header. This -feature is most useful in the form \texttt{\%1F} -(cf.~Sec.~\ref{sec:scor2prt}, which makes a separate bass part with -no figures, e.g.~for a violoncello part. - -\bigskip -Figured bass symbols will not be altered in any way under transposition -by {\PMX} (cf.~Sect. \ref{sec:transpositions}). There is no universal -set of interpretations of figured bass symbols, so no automatic -transposition is possible. -_{transposition!not with figured bass} - -\medskip -_{figured bass!2-digit figures} -{\PMX} does not admit 2-digit basso continuo figures. This is the -notation of some old editions; if you want to use it, you will have to -resort to inline {\TeX} coding (cf.~Section~\ref{sec:inlineTeX}). -There is an example for this in the Caccini aria in the Appendix -(Sec.~\ref{sec:Caccini}). - -\section{Commands That Affect All Voices} \label{sec:pmxcmds} -_{\PMX!commands for all voices} - -Unless indicated otherwise, the commands dealt with in this section -affect all staves in a score. They must be entered only \emph{in the -first (lowest) voice in the first (lowest) staff}. - -\medskip -_{\textbf{scor2prt}} -Such commands will automatically be transferred from score to parts when -separate parts are generated by \textbf{scor2prt} -(cf.~Section~\ref{sec:scor2prt}). - -\subsection{Single bars, Double bars, Repeats etc.} \label{sec:bars} -_{bar lines} _{bar lines!single, double, repeat} _{repeats|see{bars}} -_{R symbol@\texttt{R} symbol} - -In keeping with general typesetting practice, {\PMX} will by default -produce -\begin{itemize} - \item a single bar line at the beginning of each system after the - first, unless there is only one staff per system, - \item a single bar line at the end of each bar except the last one in - a movement or the entire score, - \item the common ending bar line (thin-thick double bar line) as the - last bar line of a movement or the entire score. -\end{itemize} - -_{\textbf{scor2prt}} _{\textbf{scor2prt}!placement of bar symbols} -The user can, however, override these defaults -- except the first one --- by a bar symbol, viz.\ an \texttt{R} followed by one of the -parameters given in Table~\ref{tab:bars}. If you are going to make parts -from your score (cf.~Section~\ref{sec:scor2prt}), you \emph{must} place -bar symbols either before the first note in an input block or after the -last one; otherwise \textbf{scor2prt} may behave erratically. Using two -bar symbols in succession doesn't make sense and will produce -unpredictable results. -\footnote{If you are using \texttt{|} marks at the end of bars, a repeat - must always go \emph{before} the \texttt{|}, or the next line - must follow in the same input block. In other words: while - \texttt{Rr | /} will not result in an error, it will produce a - thin bar line only. \label{p:repeats} - - \smallskip - There is a simple consequence: avoid using \texttt{|} - altogether, at least in connection with \texttt{R} symbols. - } - - -\begin{table} -\begin{center} -\begin{tabular}{|c|@{\quad}p{250pt}|} - \hline -\texttt{b} & thin (single \texttt{b}ar) line \\ -\texttt{d} & thin-thin \textbf{d}ouble bar line \\ -\texttt{D} & thin-thick \textbf{D}ouble bar line \\ -\texttt{z} & invisible bar \\ \hline -\texttt{l} & \textbf{l}eft repeat \\ -\texttt{r} & \textbf{r}ight repeat \\ -\texttt{lr} & \textbf{l}eft-\textbf{r}ight repeat \\ -\texttt{dl} & thin-thin \textbf{d}ouble bar - followed by \textbf{l}eft repeat \\ \hline -\end{tabular} -\end{center} -\caption{Parameters of the bar symbol \texttt{R}} \label{tab:bars} -\end{table} - -\medskip -Here are further comments on some particular bar symbols: -\begin{itemize} - \item \texttt{Rb} forces a single bar before a movement break, where - the default would be a double bar. This can be useful, for - example if you change the number of instruments, which {\PMX} - will allow only at a movement break, but you don't want it to - \emph{look} like a movement break. - \item \texttt{Rz} will cause an invisible bar line at the end of the - current system. It can be used together with blind meter - changes (cf.~Section~\ref{sec:meterchg}) when you want to split a - bar across a system break. - \item if a left-right repeat (\texttt{Rlr}) comes at a system break, - {\PMX} will automatically split it in two. - \item \texttt{Rdl} is the same as a left repeat - (\texttt{Rl}) except at a system break: there the first system - is ended with two thin lines, and the left repeat sign goes to - the beginning of the next system. - - \medskip - \item Finally, a general remark is in order regarding the \texttt{R} -_{R symbol!placement at begin of block} - symbols that designate repeats, double bars etc.\ - (\texttt{Rl,Rr,Rlr,Rd, RD,Rdl,Rb,Rz}). To avoid conflicts with - \textbf{scor2part}, you should \emph{always} - place any \texttt{R} command before the first note in an - input block. This is always possible except at the very end of - the whole piece. Otherwise, there is always a following input - block where the command can (and should) be placed. -\end{itemize} - -\medskip\noindent -Fig.~\ref{fig:bars} gives some examples. - -\begin{figure}[!htb] - \begin{center} - \includegraphics[scale=.82]{eps/bars.eps} - \end{center} - \caption{Single bars, double bars, repeats} - \label{fig:bars} -\end{figure} - -\Note{On some special occasions, you may want dashed or dotted barlines - instead of the regular ones. For this and similar purposes, there - is a very good and easy-to-use package by Rainer Dunker: - \texttt{musixdbr.tex}, included in the {\MusiXTeX}~\texttt{1.15} - distribution. -_{Dunker, Rainer} _{bar lines!dotted, dashed} - } - -\subsection{Volta} \label{sec:volta} -_{volte} _{dacapo|see{volte}} _{repeats|see{volte}} _{V -symbol@\texttt{V} symbol} - -The two versions of the ending of a repeated section of music, called -`volte' in musical parlance\,% -\footnote{The term `volta' is, of course, Italian, and `volte' is the - Italian plural of `volta'. - }, -are denoted by a symbol starting with a \texttt{V} (for \textbf{V}olta) -in {\PMX}. {\PMX} needs to know where each volta starts and ends, how -the ends are shaped, and what text is to be included under each volta. A -string parameter to the \texttt{V} is used to convey this information: -\begin{itemize} - \item to signal the \emph{start} of the first volta, add a text - string (usually just a \texttt{1}) that doesn't start with - one of the characters \texttt{b}~, \texttt{x}~, or any literal - spaces\,% - \footnote{Actually you can include a space by using the {\TeX} - space symbol \~\ instead of a blank. - _{\TeX!space symbol} - }. - {\PMX} will print append a period to the text string, - \item to signal the \emph{end} of a volta and the start of the - second volta, use a \texttt{V} with a text string that - \emph{does} start with either the character \texttt{b}~ or - \texttt{x}~. If \texttt{b}~ is present, a volta symbol ending - with a vertical stroke will be printed (\textbf{b}ox), while - \texttt{x}~ will print the ending \emph{without} a vertical - stroke (no bo\textbf{x})\,% - \footnote{Note that the characters \texttt{b}~ or \texttt{x}~ - can appear anywhere in the text string and will - \emph{not appear in print}. - }. - - Often composers will write out only the first ending of a - repeated section of music, and simply continue play, dropping - the first ending after the repeat. With {\PMX}, the notation is - analogous: simply end the first volta, with either \texttt{Vb} - or \texttt{Vx}, without adding a second volta. - - On the other hand, if one volta starts where another one ends, - the symbols ending the first and starting the second volta can - be combined into one, e.g.~\texttt{Vb2}~. -\end{itemize} - -\medskip -Other rules governing volte are: -\begin{itemize} - \item Volte should be placed at the beginnimg of an input block, in - the first (lowest) voice of the first (lowest) staff, before - the first note if it's the start of a volta, or after the last - note if it's the end of a volta. - \item -_{volte!with \textbf{scor2prt}} - If you will be making parts from the score using - \textbf{scor2prt}, then to ensure that the volte are properly - transferred to the parts, you must only include one volta - symbol \texttt{V} in each input block, and it must come at the - beginning of the block. - \item If a score ends while a volta is still open, {\PMX} will close - it with a box. -\end{itemize} - -\bigskip -Examples of volta usage can be seen in Fig.~\ref{fig:volta}. - -\begin{figure}[!htb] - \begin{center} - \includegraphics[scale=.82]{eps/volta.eps} - \end{center} - \caption{Volte} - \label{fig:volta} -\end{figure} - -\subsection{Meter Changes} \label{sec:meterchg} -_{meter!change} _{polyrhythmic scores} - -The meter of a piece can only be changed at the beginning of an input -block, and thus naturally only at the beginning of a new bar, just -before the beginning of the first (lowest) voice of the first (lowest) -staff. As with the initial meter specified in the preamble, any new -meter applies to all instruments and voices\,% -\footnote{As was pointed out before (cf.~p.\pageref{p:polyrhythms}), - this limits the use of {\PMX} for modern polyrhythmic music. - But you can always try to play with tricks \dots - }. - -A \texttt{m}eter change symbol starts with the letter \texttt{m}. There -are two different ways to complete the symbol: -\begin{itemize} - \item enter the 4 meter-defining numbers \texttt{mtrnuml}, - \texttt{mtrdenl}, \texttt{mtrnump}, \texttt{mtrdenp} for the - new meter\,% - \footnote{For the meaning of these numbers - cf.~p.\pageref{p:meterdefs} . - }, - \emph{separated by slashes} \texttt{/} . - \item same as above, but enter the 4 numbers consecutively - \emph{without spaces}. In this case, it is necessary to - distinguish between one single 2-digit number and two - consecutive 1-digit numbers. For this -- and for this case only - -- the following convention is adopted: - - \vspace{-1.5ex}\noindent - \begin{itemize} - \item the number 1 is represented by the letter \texttt{o}, - \item consecutive digits \texttt{10},\dots \texttt{19} stand - for exactly that: the 2-digit numbers 10 through 19. - \end{itemize} - - \vspace{-1.5ex}\noindent - Thus, 19 is the largest number that can be entered with this - method. -\end{itemize} -_{meter!blind change} -Note that \texttt{mtrdenl=0} still represents a whole note -(semibreve), as explained on p.\pageref{p:meterdefs0}, and a `blind' -meter is given by \texttt{mtrnump=mtrdenp=0}, as explained in -Table~\ref{tab:meter}. - -\medskip _{pickup bar} -The most common application of a `blind' meter change occurs when a -piece --- often one starting with a pickup --- has an incomplete final -bar. In such cases place the last bar in an input block by itself, -headed by a `blind' meter change. For example, if the meter had been 4/4 -and there was a quarter note pickup, leaving 3 beats in the last bar, -the last bar might be coded \verb#m3400 cd24 of /#. - -Another useful application is for the pickup bar in the second or later -movements, following a {\PMX} movement break symbol. Since there is -no special provision for pickups in this case like there is at the -beginning of a piece, _{movement breaks} -\begin{enumerate} - \item the pickup bar should be in a block by itself, starting with a - meter change symbol with a logical meter representing the - pickup bar and a printed meter as appropriate, and - \item the next bar should start a new block and begin with a blind - meter change symbol with a logical meter representing the true - meter. -\end{enumerate} - - -\subsection{Key Changes} \label{sec:keychg} -_{key change} _{K symbol@\texttt{K} symbol} - -A key change can be signalled at any time\,%. -\footnote{Only one key change is allowed in each input block. - }. -It must be entered in the first voice, but will affect all voices. Use -the command \texttt{K+0}, followed by the new key signature: positive -integer for sharps, negative for flats (cf.~Section~\ref{sec:numinput}) -. - -\medskip -Some examples are given in Fig.~\ref{fig:keychg}. - -\begin{figure}[!htb] - \begin{center} - \includegraphics[scale=.82]{eps/keychg.eps} - \end{center} - \caption{Some key changes} - \label{fig:keychg} -\end{figure} - -\subsection{Transpositions} \label{sec:transpositions} - -_{transposition} _{K symbol@\texttt{K} symbol} - -\subsubsection{Transposition of an entire score} - -To transpose an entire score to a different key from the one in which -the data have been entered, use the symbol \texttt{K} (for -\textbf{K}ey), followed by two explicitly signed digits: (1) the -distance to transpose by, in units of \verb#\internote# (i.e.\ the -vertical offset on the staff), and (2) the new key signature. This -symbol must be entered at the beginning of the piece, in the header -(cf.~p.\pageref{p:header}). - -There is one case that requires special handling, viz., when transposing -by a half step, but the vertical position doesn't change, e.g.\ from D -flat to D. In this case the shift parameter (the first parameter of -\texttt{K}) is \emph{always} \texttt{-0} \emph{regardless} of whether -the transposition is up or down a half step\,% -\footnote{This artifact is needed to differentiate a half-note - transposition from a mere key change without - transposition (cf.~Section~\ref{sec:keychg}) . - }; -the direction of the transposition will be determined by the new key -signature, the second parameter. An example of transposition is given in -Figs.~\ref{fig:transpose}. - -\begin{figure}[!htb] - \begin{center} - no transposition: \\ - \begin{small} - \verb#d8 e1 f g a bs cs d8 cn1 bn a g f e | d0 Rb /# - \end{small} \\ - \includegraphics[scale=.82]{eps/transpose.eps} \\ - transposition by one tone up: \\ - \begin{small} - \verb#K+1+1 d8 e1 f g a bs cs d8 cn1 bn a g f e | d0 Rb /# - \end{small} \\ - \includegraphics[scale=.82]{eps/transpose1.eps} \\ - transposition by a half tone up: \\ - \begin{small} - \verb#K-0+6 d8 e1 f g a bs cs d8 cn1 bn a g f e | d0 Rb /# - \end{small} \\ - \includegraphics[scale=.82]{eps/transpose2.eps} \\ - transposition by a half tone down: \\ - \begin{small} - \verb#K-1+4 d8 e1 f g a bs cs d8 cn1 bn a g f e | d0 Rb /# - \end{small} \\ - \includegraphics[scale=.82]{eps/transpose3.eps} \\ - \end{center} - \caption{Some transpositions of a d minor scale} - \label{fig:transpose} -\end{figure} - - -\begin{figure} - \begin{center} - \includegraphics[scale=.82]{eps/tristn.eps} \\ - Standard notation in the original score \\[3ex] - \includegraphics[scale=.82]{eps/trists.eps} \\ - Actual sound (transposed with \texttt{K-4-4}) - \end{center} - \caption{\textbf{R.\ Wagner}, \emph{Tristan und Isolde}, - beginning of third act} - \label{fig:tristan} -\end{figure} - - -\medskip -_{accidentals!relative} -When transposing, one should always use relative accidentals, activated -by the symbol \texttt{Ar} in the header (cf.~Section~\ref{sec:A} for a -detailed explanation of this notation). - -\medskip -When transposing an entire score of same-type instruments, it is of -course easy to obtain both the original score and its actual sound, as -shown in Fig.~\ref{fig:tristan}. - -\subsubsection{Transposition of Individual staves} - \label{sec:stafftranspos} - -In orchestral scores, you usually have individual `transposing -instruments', i.e.\ instruments that are denoted (and, in fact, -\emph{played}) in a pitch different from what they sound: clarinets in E or B -flat, Oboes in A (oboe d'amore) or F (oboe da caccia), and similar. For -that purpose \PMX\ now provides the option to transpose individual -staves. - -The instructions given by Don Simons himself on introduction of \PMX\ -\texttt{2.613} are so clear that it is best to quote them literally -here: - -\begin{quotation} -``The syntax is an extension of the existing full-score transpose/key - change command "K". Just follow "K" with "i", then instrument number, - then the same parameters as before for transposition amount and new - key signature: - - \verbõKi[instrument #][+/-][trans amt.][+/-][new key]õ - - For more than one instrument, you may immediately repeat everything - after "K". The command must either be at the start of the score (right - after setup), or if later, must be preceded by a normal (full score) - key change command K+0[+/-][new key]. (Remember that later full-score - transpositions are not allowed). '' -\end{quotation} - -An important function is worth repeating/emphasizing: -\begin{itemize} - \item It is usually easiest to put the new \texttt{K} command where - the old one was: right before the start of the actual score, - i.e.\ in the `header' . But it is now also possible to enter it - later, albeit with the (somewhat cumbersome) addition of a `dummy' - full-score key change command (as explained above). - - This can indeed occur in practice, e.g.\ when the oboe player - switches to English Horn in midstream! -\end{itemize} - -\subsection{Titles, and text above and below a system} - \label{sec:titles} _{titles} -_{text!above/below system} _{T symbol@\texttt{T} symbol} - -A \emph{title block} with up to three elements can be defined in the -header (cf.~p.\pageref{p:header}): -\begin{itemize} -\item \texttt{Ti}: an \textbf{i}nstrument name. It is set \emph{above} - the title, and left-justified, -\item \texttt{Tc}: the \textbf{c}omposer's name. It is set \emph{below} - the title and right-justified, -\item \texttt{Tt}: a \textbf{t}itle for the whole piece. It is centered - on the page. -\end{itemize} - -Each of these commands is to be followed by a text string, \emph{on a -separate line}. This text must be fully contained in one line of {\PMX} -coding; but the text for the \textbf{t}itle can be spread out over -several lines in print by using the standard {\TeX} line break symbol -\verb#\\# . _{\TeX!line break symbol} - -\medskip -Extra vertical space can be added between the whole title block and the -top system by appending to \texttt{Tt} (without space) a one- or -two-digit number representing this space, in units of -\verb#\internote#\,% -\footnote{{\PMX} does this together with the adjustment of other - vertical spaces when fixing the general page layout. In some - rare cases, the result may not be quite what you expect, in - particular when you haven't used the \texttt{Ae} option to - equalize inter-system spacing - (cf.~section~\ref{sec:options}). In such cases you might want - to use inline {\TeX} --- take a look at the example in - Section~\ref{sec:shiftname} for how this can be done. - }. -This works only if \texttt{Tt} is the \emph{final} title block element -entered. Thus, although the 3 parts of a title block can be given in any -order, it is good practice to use the sequence \texttt{Ti} --- -\texttt{Tc} --- \texttt{Tt}. - -_{titles!with \textbf{scor2prt}} _{\textbf{scor2prt}!use of Ti} -\Note{When you want to generate parts from a score with - \textbf{scor2prt} (cf.~Section~\ref{sec:scor2prt}), you should - \emph{omit} \texttt{Ti} with an associated \textbf{i}nstrument - name, because each separate instrument usually has a different - name. Rather, \textbf{scor2prt} will automatically supply the - appropriate instrument names, printing the name of each instrument - at the upper left of the first page of each part; the names used - here are the ones specified in the preamble of the {\PMX} file for - the score\,% - {\footnotemark}. - - If you do have \texttt{Ti} together with an \textbf{i}nstrument - name in the main score, \textbf{scor2prt} will print that name - identically to all the parts --- which is usually not what you - want! - } -\footnotetext{\textbf{scor2prt} does this by inserting into the part - \texttt{.pmx} file a \texttt{Ti} and the appropriate - instrument name as taken from the preamble of the main - score. Knowing this may be useful if you want to - manipulate this process, e.g.~to change the vertical - shifting of a particular instrument name - (cf.~Section~\ref{sec:shiftname} for details). - _{\textbf{scor2prt}!adjusting instrument name} - } - -\bigskip _{h symbol@\texttt{h} symbol} _{l symbol@\texttt{l} symbol} -The symbols \texttt{h} (for \textbf{h}eader)\,% -\footnote{This usage of the \textbf{h} symbol is not to be confused with - that for the page size (see Section~\ref{sec:pagesize})! - Although both can occur together in the header, they are in - fact, different {\PMX} symbols, distinguished by their - differing syntax. - } -and \texttt{l} (for \textbf{l}ower) can be used to introduce text -either above or below a system. These symbols must be placed in the -first column of an input line (not necessarily the beginning of a -block), and followed by a blank or -- for \texttt{h} only -- a signed -integer. In the latter case, this integer is a vertical shift, in units -of \verb#\internote#. - -The text string, which again must lie on a line of its own immediately -following the symbol, will be printed above or below the \emph{top} -staff in the \emph{first} bar of the block where it is entered. -Figs.~\ref{fig:vivaldi1} and \ref{fig:Haydn} show examples. - -\subsection{Page numbering and page headers} \label{sec:pagenumbers} - -\subsubsection{Page numbering} -_{page!numbering} _{P symbol@\texttt{P} symbol} - -By default, {\PMX} does \emph{not} number the pages of a score, even -when it has more than one page. You can, however, switch on page -numbering by using the symbol \texttt{P} (for \textbf{P}age). Placed at -the beginning of an input block anywhere within the {\PMX} body of -input, and followed optionally by a page number and/or by \texttt{l} -(for \textbf{l}eft) or \texttt{r} (for \textbf{r}ight), this will -\begin{enumerate} - \item start page numbering at the current page\,% - \footnote{The `current page' is the page where {\PMX} puts - the music currently processed at the point where it - encounters the symbol \texttt{P}. - } - with the number given as optional argument. Further page - numbers are then incremented automatically starting with this - number. If \texttt{P} has no number argument, the default is - page 1 . Thus, \texttt{P} and \texttt{P1} are equivalent), - \item put the page numbers to the top \textbf{l}eft or \texttt{r}ight - of the first of the pages to be numbered, after which the - number positions will alternate. If no \textbf{l} or \textbf{r} - is given, {\PMX} puts the page numbers on the right on - odd-numbered pages, on the left of even pages. -\end{enumerate} -You can have as many \texttt{P} symbols in a score as you like; but -there is no command to switch off page numbering again once it has been -switched on. - -\subsubsection{page headers} -_{page!headers} - -There is one more option, \texttt{c} (for \textbf{c}entered header), -available with the \texttt{P} symbol. This option defines a text string -to be printed at the top of every page \emph{after the first}. The -notation is as follows: -\begin{itemize} - \item The normal usage is \texttt{Pc"}$[$\emph{text - string}$]$\verb#"#. The text string enclosed in the quotation - marks must be a single line of text. It may contain blanks, but - \emph{no} \verb#\\#). If the string consists of blanks only, - that is what will be printed: a blank page header. - \item If the text string does not contain any blanks, you may omit - the quotation marks, but you must then start the text - immediately after the \texttt{c} \emph{with no space}. - \item If there is a blank after \texttt{Pc}, \emph{no quotation marks, - and no further text}, the text printed as the header will be - the instrument name entered with the symbol \texttt{Ti}, as - described on p.\ref{sec:titles}. -\end{itemize} -\texttt{c} must be the \emph{last} option in the \texttt{P} symbol. - -_{P symbol@\texttt{P} symbol} _{\textbf{scor2prt}} -\Note{The \texttt{P} symbol and all its options will be ignored when - making parts from a score using \textbf{scor2prt}, since page - numbering will usually be different in the score from that in the - parts. Page numbering -- and centered headers -- for parts can, - however, be initiated independently with another mechanism. For - the details on this, refer to Section~\ref{sec:scor2prt}. - } - -\clearpage -\begin{figure}[!htb] - \begin{center} - - \vspace*{20ex} - \includegraphics[scale=.82]{eps/vivaldi1.eps} \\[2ex] - ------------------------------------------ -\begin{minipage}{380pt} -\small -\begin{verbatim} - 1 1 3 4 0 3 0 -1 - 1 1 16 0.0 - -t -./ -% begin header: -Ti11 -Oboe I -Tc -Antonio Vivaldi (1678-1741) -Tt -Concerto in d minor \\ RV535 -w150m -% end header. -% Bar 1-4 -h-2 -~~~Largo - -d45 a44 r4 | g44 f44 r4 | g45 a45 b45 | cs45 d45 r4 / -% Bar 5-7 -fs45 g45 a45 | b45 r4 r4 | cs45 d45 e45 / -% Bar 8 -l -(continued) -f45 r4 r4 Rb / -% -\end{verbatim} -\end{minipage} - \end{center} - \caption{Titles, and text above and below a system} - \label{fig:vivaldi1} -\end{figure} - -\clearpage -\subsection{Layout: line, page, and movement breaks} - \label{sec:breaks} -_{layout} _{layout!manual line/page breaks} -_{\texttt{npages}} _{\texttt{nsystems}} - -The parameters \verb#npages# and \verb#nsystems# of the preamble -(cf.~Section~\ref{sec:preamble}) determine the layout of the score, -either by fixing the total number of pages and systems, or by setting -the average number of bars per system. With no further instructions, -{\PMX} will attempt to distribute all the music evenly over the total -number of systems, and then spread the systems evenly over the specified -number of pages, either specified or determined by default (with -\verb#npages=0#). - -You can change the average `crowdedness' by changing the preamble -parameters. Once this is satisfactory, you can exercise finer, more -local control by forcing, i.e.\ manually inserting, line or page breaks -at exactly the places you want them to be. You may also want movement -breaks, and {\PMX} has a convenient way of doing that, in the process -dealing easily with such `housecleaning' chores as indenting the first -system of the new movement, reprinting the time signature, resetting the -bar number counter, and other details to be discussed below. -_{bar numbering} _{indenting first system} - -\medskip -It is worthwhile, however, to quote Leslie Lamport at this point: -_{Lamport, Leslie} -\begin{quote} - ``Don't worry about line and page breaks until you prepare the - absolutely final version'' \\ - From: Leslie Lamport, {\LaTeX}, \emph{user's Guide and Reference - Manual} . -\end{quote} - -This is especially true for a {\PMX}-generated score. Until the final -edit, you should always use \texttt{npages=0}. Once you specify any -forced line break, you can no longer use \texttt{npages=0}, and you will -have to specify values for \texttt{npages} \emph{and} -\texttt{nsystems}~. And because --- as we'll soon explain --- a movement -break is a sub-option of the linebreak command, you cannot set movement -breaks either until the final edit. - -But unless your score is just a few pages long, you probably will want -to set some line, page, or movement breaks in the end. When you are -ready, always first pick some reasonable values for \texttt{npages} and -\texttt{nsystems}---perhaps the numbers that finally came out when you -used \texttt{npages=0} during the main input process. Then one way to -proceed is to start at the beginning, forcing breaks where desired. The -most common places would be at movement breaks, and at places associated -with volte or repeats. Recompile and view the result after each new -line break is inserted. You may need to adjust the total number of -systems or even pages depending on how crowded is the remainder of the -score, after the last forced line break. - -The other way to proceed is to begin by inserting any obvious page -breaks, especially if you are laying out a booklet with facing pages and -want page turns to come in musically convenient places. - -\bigskip\noindent -Here are the rules for inserting forced line, page, and movement breaks: -\begin{itemize} -\item _{line break} - Line breaks can only come at the start of an input block. To force - a line break at the start of the $n^\text{th}$ system, enter - \texttt{L}$[n]$~. $n$ must obviously be greater than 1 and less - than or equal to the value of \texttt{nsystems} as specified in - the preamble. -\item _{page!breaks} - Page breaks can only come where there is already a line break. To - force a page break at the start of the $m^\text{th}$ page and the - $n^\text{th}$ system, enter \texttt{L[}$n$\texttt{]P}$m$~. $m$ - must obviously be greater than 1 and less than or equal to the - total number of pages. - -\item _{movement breaks} - Movement breaks can only come where there is already a line break. - To force a movement break at the start of the $n^\text{th}$ - system, enter \texttt{L[}\emph{n}\texttt{]M}~. If in addition you - want a page break at that point, use - \texttt{L[}$n$\texttt{]P[}$m$\texttt{]M}~. - - \medskip - The movement break symbol \texttt{M} has several optional - parameters. They can be used in any combination and should follow - with no spaces. - - \begin{itemize} - \item \texttt{M+[}$k$\texttt{]} adds $k$ \verb#\internote# - units of vertical space between movements. \item - \texttt{Mi[}$.x$\texttt{]} resets the first-line - indentation of the new movement to - \texttt{fracindent=}\,$.x$~, where $.x$ is some - decimal number (cf.~Sec. \ref{sec:preamble}). - - \Note{You must write the fracindent number exactly in - the form $.x$ , i.e.\ \emph{without} the leading - $0$~. If, e.g.\ , you write $0.2$ instead of - $.2$~, {\PMX} will complain with an error message, - asking for a decimal number! - } - - \item Beginning a new movement break, the bar number is reset - to zero by default, whereas \\ - \texttt{Mc} \textbf{c}ontinues bar numbering. - \item \texttt{M[}$n$\texttt{]} changes the \textbf{n}umber of - instruments to $n$~. $n$ must not exceed \texttt{ninstr} - as set in the preamble. If $n$ exceeds 9, it must be - \emph{preceded} with \texttt{:} (colon). This should be - followed (without blanks) by a sequence of $n$ instrument - numbers in bottom-up order, again preceded with - \texttt{:} if bigger than 9, then a sequence of clef - symbols, one for each staff of each instrument starting - from the bottom. An instrument's numeral is simply its - position in the original sequence (in the preamble); - these numerals can be permuted as desired, but the - sequence of clef symbols should, of course, match the new - sequence of instruments. - \item \texttt{Mr+}/\texttt{Mr-} \textbf{r}eprints/suppresses - reprinting the instrument names at the beginning of the - new movement. The default is to print them only if the - number of instruments changes. - \end{itemize} -\end{itemize} - -_{instruments!numbers increased/decreased} -It should be emphasized here that the number of instruments in a new -movement can never exceed the original number of instruments, although -it is permissible to increase it after it has been decreased, as long as -it doesn't exceed the original number; in other words, and to give an -example: a sequence {quartet --- solo --- duet, e.g., is possible, -while the reverse sequence is not. There are two ways to circumvent this -restriction: -\begin{enumerate} -\item start the score with a dummy page --- to be discarded - later --- containing the maximum number of instruments. On the - second page, start a new movement with the desired number and - sequence of instruments for the first movement, -\item _{\PMX!concatenating several files} - make separate {\PMX} files and concatenate them afterwards - (cf.~Section~\ref{sec:concatfiles} or \ref{sec:LaTeX} on how to - do this). -\end{enumerate} - -\medskip -Immediately after a movement break, any desired meter changes, key -changes, or text can be entered as already described in -Sections \ref{sec:meterchg}, \ref{sec:keychg} and \ref{sec:titles} -(p.\pageref{sec:meterchg} ff.). - -\bigskip -The effect of movement breaks is illustrated in the -example~\ref{sec:Dufay} in the appendix. - -\subsection{Bar Numbering} \label{sec:barnumbers} -_{bar numbering} _{inline \TeX!bar numbering} - -By default {\PMX} places a bar number above the first bar of the top -staff in every system, and there is no provision in {\PMX} to change -this default. But it is easy to change this by using a straight -{\MusiXTeX} command: -\begin{itemize} - \item if you want no printed bar numbers at all, add a line in the - header containing \\ \verb#\\nobarnumbers\# - \item if you want bar numbers printed over every bar, add a line - containing \\ \verb#\\barnumbers\# -\end{itemize} -in the header or at the beginning of an input block. - -This is an example of a \textbf{type 2} inline {\TeX} command, -cf.~Section~\ref{sec:inlineTeX}. As is explained there in detail, {\PMX} -will place a \textbf{type 2} inline {\TeX} command at the beginning of -the \verb#.tex# file produced, regardless of where in the \verb#.pmx# -file the command appears. This means that you cannot change this type of -bar numbering in mid-stream. - -If you do want to change the bar numbering somewhere in the middle of a -score, use a \textbf{type 3} inline {\TeX} command: if, from the -current point in the score, you want -\begin{itemize} - \item no printed bar numbers, add a line with \\ - \verb#\\\nobarnumbers\# - \item bar numbers printed over every bar, add \\ - \verb#\\\barnumbers\# - \item bar numbers above the first bar of every system (the {\PMX} - default), add \\ \verb#\\\systemnumbers\# -\end{itemize} -at the beginning of the current input block. - -\medskip -_{Bar number count adjustment} -Furthermore, you might want to change the number itself. This occurs most -frequently when you have a pickup bar at the beginning of a repeat; some --- including some commercial publishers -- do not include this pickup -bar in the number count, wheras {\PMX} does so by default. To adjust -this, use the \textbf{type 3} inline {\TeX} command -\verb#\\\advance\barno-1\relax\# . - -\bigskip -{\MusiXTeX} provides still more elaborate bar numbering schemes, such as -a number over every $n^{\text{th}}$ bar. For details refer to the -{\MusiXTeX}~\texttt{1.15} manual. - -\section{Some general options and technical adjustments} - \label{sec:options} _{\PMX!options!general} - _{layout!general options} - -\subsection{Global options} \label{sec:A} -_{\PMX!options!global}_{A symbol@\texttt{A} symbol} - -{\PMX} has many layout parameters with default settings. Some of these -can be changed by the user; for that purpose there are several symbols, -all beginning with \texttt{A}. Many of these are usually included in the -^{header}, but some may be entered at the beginning of any input block. -Table~\ref{tab:A} lists these options alphabetically; the following -subsections, grouped by types of settings, describe them in detail. When -using several of these commands, it is not necessary to enter them all -on separate lines; rather, you can concatenate them, in any order, with -just a single \texttt{A}, e.g.~\texttt{AdI2.3p+hlbr} . - -\begin{table}[!ht] -\begin{center} -_{\PMX!options!global} _{A symbol} _{global options |see{@\texttt{A} symbol}} -\begin{tabular}{|l|l|} -\hline -\texttt{Aa}$[x]$ & sets space before first note in a bar \\ -\texttt{Ab} & makes accidentals \textbf{b}ig \\ -\texttt{Ac}$[x]$ & sets page sizes and offsets according - to paper type \\ -\texttt{Ad} & puts \textbf{d}ots in lower voices - \emph{below} the line \\ -\texttt{Ae} & \textbf{e}qualizes inter-system spacing \\ -\texttt{AI}$[x]$ & changes default \textbf{I}nterstaff spacing - \emph{for the whole score} \\ -\texttt{Ai}$[x]$ & changes default \textbf{i}nterstaff spacing - \emph{for the current page only} \\ -\texttt{AK} & adjusts rest heights in 2-voice staves - depending on context \\ -\texttt{AN}$[i]$``\emph{name}'' - & sets filenames generated by \textbf{scor2prt} - (cf.~Section~\ref{sec:scor2prt}) \\ -\texttt{Ap}[\emph{further suboptions}] - & enables PostScript type K slurs \\ - (cf.~Section~\ref{sec:chords}) \\ -\texttt{Ar} & switches accidentals to - \textbf{r}\emph{elative} \\ -\verb#AR[#\emph{file}\verb#]# - & inserts a text file in the {\PMX} source file - (cf.\ Secion \ref{sec:concatfiles}) \\ -\texttt{AS}[\emph{ns}] - & enables {\PMX} \textbf{S}pacing algorithms - to small-font staves \\ -\texttt{As} & makes accidentals \textbf{s}mall \\ -\texttt{AT} & activates special xtuplet brackets - (cf.~Section~\ref{sec:xtuplets}) \\ -\texttt{Av} & spreads systems \textbf{v}ertically over all - of an unfilled page when `on' \\ -\hline -\end{tabular} -\end{center} - \caption{Symbols beginning with an \texttt{A} (global options)} - \label{tab:A} -\end{table} - -\subsubsection{Accidentals} -By default, big accidentals are used unless regular spacing doesn't -provide enough room. Thus the default behavior may cause a mixture -of big and small accidentals, and in fact is not recommended. Rather, -the user is advised to make his choice: -\begin{itemize} - \item _{accidentals!big} - \texttt{Ab} makes all accidentals \textbf{b}ig; this is - usually preferred, - \item _{accidentals!small} - \texttt{As} makes all accidentals \textbf{s}mall. -\end{itemize} - -\medskip _{accidentals!absolute} -As was mentioned earlier (cf.~Section~\ref{sec:transpositions}), {\PMX} -by default uses the so-called `absolute' notation for inputting -accidentals, i.e.\ the notation explained in -Table~\ref{tab:noteparameters}. -In this notation, there is an obvious one-to-one correspondence between -accented characters in the {\PMX} source file (\texttt{s, f, n, ss, ff}) -and the printed characters. This has a disadvantage, but it only -surfaces if you write the {\PMX} file in one key and later transpose it -using the \texttt{K} option described in -Section~\ref{sec:transpositions}. For example, suppose the original key -is F, with 1 $\flat$ in the signature, and you enter \texttt{bn}. Now if -you transpose to the key of C with \texttt{K-3+0}~, that note will be -printed explicitly as F natural, while it should be F sharp. - -\medskip _{accidentals!relative} _{key signature} -The remedy for such problems is to use another notation, aptly named -`relative' accidental notation, used by some musicians and some -publishers in some countries. In this notation, a sharp, flat, or -natural sign denotes an alteration by a half-tone up, down, or none -\emph{relative to the note which would otherwise be indicated based -on the signature of the piece}. For example, in D~major, with 2 -$\sharp$s in the signature, an F natural would be denoted not as -\texttt{fn} but rather as \texttt{ff}, while in d~minor, with one -$\flat$ in the signature, a B natural would be input not as -\texttt{bn} but rather as \texttt{bs}. Similarly, $\natural$s -accidentals refer to the notes prescribed by the signature; e.g., in -G~Major (1 $\sharp$ in the key) a \texttt{gn} sounds as a \emph{g}, -while \texttt{fn} sounds as an F sharp. - -\medskip _{transposition} -For automatic transpositions to function properly, it is necessary -that the {\PMX} source for the score to be transposed use the -\emph{relative accidental notation}. This is effected by \texttt{Ar} -: -\begin{itemize} - \item \texttt{Ar} directs {\PMX} to interpret accidentals - in \textbf{r}\emph{elative} notation\,% - \footnote{Note that this makes logical sense only if used in - the header, and accordingly there is no way to - `undo' this decision further down in a score. - }. -\end{itemize} - -\subsubsection{General layout} _{genlayout} The -esthetic appearance of a score of music depends on the -white space around it, and thus depends on the physical -size of the paper. - -\medskip -In {\PMX}, default values for this can be set with a -global option \texttt{Acl} or \texttt{Ac4}, with no -further adjustments required in \textbf{dvips} . These -commands set horizontal and vertical sizes and offsets -that center the page: -\begin{itemize} - \item \texttt{Acl} for letter paper - \item \texttt{Ac4} for DIN A4 paper . -\end{itemize} - -\Note[180pt]{These 2 global options are available as of {\PMX} - version 2.618 , not before !!} - -\subsubsection{Layout details} _{layout} -When the note head of a dotted note is \emph{on} the line (e.g.\ -for a \emph{g} in a violin clef), it is customary to place the -dot slightly \emph{above} the line. In staves with two voices, -there is an alternate custom, viz., to place the dot \emph{above} -the line in the \emph{upper} voice and \emph{below} the line in -the \emph{lower} voice. {\PMX}'s default is the first possiblity; -dots for both voices \emph{above} the line, but it can be -overridden: - - -\noindent -By default {\PMX} inserts a horizontal gap of \verb#1\elemskip# -between a bar line and the first note in the bar. This can be -changed globally: -\begin{itemize} - \item \texttt{Aa}$[x]$ sets the space before the first note in - every bar to to $x$ units of \verb#\elemskip# . -\end{itemize} - -\noindent -In {\PMX} it's not yet possible to specify a smaller font for selected -staves. But it can be done using an inline {\TeX} command (For details, -cf.~Section~\ref{sec:inlineTeX} and Section~\ref{sec:varstaves}). If you -do this, then you ought to use the \texttt{AS} option: - -\begin{itemize} _{staves!varying size} _{\texttt{musicsize}} - \item \texttt{AS}[\emph{ns}] . The additional sequence of - \emph{ns} is mandatory here. It consists of exactly as - many characters \texttt{-} (minus) or \texttt{0} (zero) - as there are staves in the score (\texttt{nstaves}, - cf.~Section~\ref{sec:preamble}): \texttt{0} if the font - size of this staff is normal, \texttt{-} if it is - small\,% - \footnote{The sequence of staves is from bottom to top, as - described in the preamble. Cf.~p.\pageref{p:header}. - }. - This tells {\PMX} to modify some horizontal spacing decisions - to account for the smaller font size. -\end{itemize} - -\subsubsection{Vertical spacing} _{spacing} _{spacing!vertical} -\begin{enumerate} - \item[a)] Spacing of staves within a system: \text{} \\ - If there is more than one staff in a system, {\PMX} computes the - vertical spacing between the staves automatically. However, the - algorithm isn't fully robust, and the result may not be pleasing. - To change the spacing between the staves within a system, you can - apply a scale factor $x$ to the default, either for the entire - score, or for the current page only: - \begin{itemize} - \item \texttt{AI}$[x]$ multiplies the default - \textbf{I}nterstaff spacing, \verb#\interstaff#, by the - decimal number $x$ \emph{for the entire score}. This - option should be placed in the header. - \item \texttt{Ai}$[x]$ multiplies the default - \textbf{i}nterstaff spacing by the - decimal number $x$ \emph{for the current page only}. - This option can be placed at the beginning of any input - block (including the first), and overrides - \texttt{AI}$[x]$ . - \end{itemize} - Note that if there is more than one system on a page, decreasing - the interstaff spacing will increase the space between systems, - and vice-versa. - - \item[b)] Spacing of systems on a page: \text{} \\ - {\MusiXTeX} normally draws a virtual box around each system and - inserts equal vertical space between these boxes. When objects - protrude above the top staff in a system -- such as the note - \texttt{c46} in the violin clef -- or below the bottom one, this - can lead to unequal spacing between the bottom staff line of one - system and the top staff line of the next. You may prefer that - this vertical spacing be constant for the whole page: - \begin{itemize} - \item \texttt{Ae} ensures that the spacing between the bottom - staff line of one system and the top staff line of the - next is constant for any one page\,% - \footnote{It is generally advised to use the \texttt{Ae} - option by default, unless one has a specific - reason not to. When using this option, you may - Nevertheless, in certain cases you may want to - force more vertical space between certain systems. - There is a {\TeX} macro, called - _{\bs\texttt{spread}$[x]$} - \bs\texttt{spread}$[x]$, that can be inserted - anywhere in the system before the desired wider - gap. Its argument $x$ is the desired extra space, - in units of \bs\texttt{internote} - (cf.~Section~\ref{sec:inlineTeX}). - _{layout!\bs\texttt{spread}$[x]$} - _{\MusiXTeX!\bs\texttt{spread}$[x]$} - }. - \end{itemize} - - \item[c)] Sparsely filled pages: \text{} \\ - Sometimes it may happen that a page contains just a few staves - altogether, and then the white space between staves on such a - page becomes excessive. In such cases -- specifically, if - \verb#\interstaff# $>$ \verb#20\internote# -- {\PMX} will, instead - of the equal spacing described above, group all systems near the - top of the page. This can, however, be changed by the user: - \begin{itemize} - \item \texttt{Av} will suppress the grouping near the top, - and ensure that systems will always be spread vertically - regardless of how much white space is left between systems. - \end{itemize} - Note that \texttt{Av} acts as a toggle; the second time it is - issued, the behavior will revert to the default. - \item[d)] Vertical position of rests in 2-voice staves: - \begin{itemize} - \item \texttt{AK} activates special rules for vertical positioning - of rests in two-voice staves. - - This general option is rather subtle; its explanation by Don - Simons follows: - \begin{quote} - ``Without this option, rests in two-voice staves have - default positions based on a simple rule that is not - context-sensitive: those in the lower voice (the one - before //\,) are 4 \verb#\internote# heights below their - single-voice default positions, and those in the upper - voice are 2 \verb#\internote# heights above the - single-voice default. - - ``The \texttt{AK} option invokes a set of context-sensitive - _{rest!alignment in 2-voice staves} - rules to set the default position. The baseline rule is - to align the rest in a horizontal line with the next - following note in the same bar. If there is no following - note in the bar, then the rest is aligned with the last - note before the rest. - - \medskip - ``If there are simultaneous rests in both voices, the old - rule is applied. - - \medskip - ``The \texttt{AK} option is a toggle: it may be used at the - start of any input block to turn these special rules on - (if previously off) or off (if previously on). - - \medskip - ``When the \texttt{AK} option is on, it only affects - places where there are two voices in a staff. - - \medskip - ``Any user-defined tweaks on the height of a rest will - supersede the option for that particular rest, i.e.\ the - tweak will be applied relative to the single-voice - default position.'' - \end{quote} - - Sometimes you may want the rest to be aligned with the - \emph{previous} note (the one \emph{to the left} of the - rest), rather than the following note (the one to the right - of the rest). - - This can be achieved simply by appending an \texttt{L} (for - `\textbf{L}eft') to the rest symbol, i.e.\ by writing - `\texttt{rL}' . - \end{itemize} -\end{enumerate} - -\subsubsection{PostScript type K slurs, ties and hairpins} - \label{sec:usepsslurs} -_{PostScript!slurs, ties and hairpins} - -The use of PostScript slurs, ties and hairpins circumvents most of the -shortcomings of the font-based counterparts. Of the two available -packages, only the type K slurs are explicitly supported by {\PMX}. -There is an option, \texttt{Ap}, to enable the use of this package. - -\begin{itemize} - \item \texttt{Ap} activate Type K PostScript slurs, ties and hairpins. - - \texttt{Ap} may also be entered at the beginning of any input block - to activate certain suboptions controlling shapes and positions of - the slurs and ties that are to be used. The first few of these - options affect vertical positioning. When Type K PostScript slurs - are activated with \texttt{Ap}~, slurs and ties will by default - \emph{not} have their verticAl positions tweaked to avoid - tangencies with staff lines. - - To control this type of adjustment, use one of the following - suboptions to \texttt{Ap}~: -\begin{enumerate} - \item - \begin{itemize} - \item \texttt{+s} activates automatic slur height adjustment, - \item \texttt{+t} activates automatic tie height adjustment, - \item \texttt{-s}/\texttt{-t} deactivate the corresponding - height adjustment. - \end{itemize} - - \item - A second suboption, \texttt{+c}/\texttt{-c}, will increase or - decrease the default curvature of the Type K slurs. The result of - such commands is cumulative, and more than one suboption - \texttt{+c} or \texttt{-c} may be used in a single command. If - the cumulative change goes above \texttt{HH} or below - \texttt{f}, a warning will be issued, the default will be set to - \texttt{HH} or \texttt{f}, and processing will continue. - - Local curvature options in individual slur commands (cf.\ - Sec.~\ref{sec:usepsslurs}) will take precedence over the global - default, but will \emph{not change the default}. - \begin{quote} - A special local option, \texttt{n} (`\textbf{n}ormal'), is of the - `undo' type: it will cause that par\-ti\-cu\-lar slur, no matter - what the global default happens to be, to have the normal - curvature, i.e.\ between \texttt{f} and \texttt{h}. - \end{quote} - \item - A third suboption, \texttt{l}, changes the appearance of slurs - and ties that extend across line breaks: - \begin{itemize} _{slurs!across line break} - \item Every slur/tie at a line break is automagically broken into - two separate ones; no additional {\PMX} slur start or ending - commands are required. Vertical and horizontal tweaks for - the end of the first segment and Start of the second segment - are entered as options in the normal command that starts the - slur/tie: - \begin{enumerate} - \item the option for the end of segment 1 starts with - \texttt{s} (for \textbf{s}ever or \textbf{s}plit), - then the usual one or two signed numbers, then a - second \texttt{s} and one or two more signed numbers - for the start of segment 2, - \item the usual curvature options \texttt{h, H, HH , f}, - if included in the starting command for a line-break - slur, will apply to segment 1, and to segment 2 if - in the closing command. If the slur/tie does not - come at a line break, the special position tweaks - (those after the \texttt{s} option) will all be - ignored, and the curvature tweaks on the closing - note take precedence. - \end{enumerate} -\end{itemize} -\end{enumerate} - - _{global options|see{\PMX!options!global}} - _{general options|see{\PMX!options!general}} - The \texttt{l} option can also be invoked globally - (i.e.\ for the entire score) by specifying \texttt{Apl}, - instead of only \texttt{Ap}, in the header - (recommended). -\end{itemize} - -The third suboption concerns only line-break ties (it does not -affect slurs): -\begin{itemize} - \item \texttt{+h}/\texttt{-h} activates/deactivates the use - of special \textbf{h}alf-ties for the second segment of - line-break ties after the line break. These are - horizontal at their left end, and are only used if the - required segment is shorter than 15 pt. -\end{itemize} -Note that this option is somewhat incompatible with the -\texttt{l} option, and they should not be used simultaneously. - - - -\subsection{Page Size} \label{sec:pagesize} \label{p:pagesize} - _{page!size} _{h symbol@\texttt{h} symbol} - _{W symbol@\texttt{W} symbol} -The default page size\,% -\footnote{This means the \emph{extent of the print} on the page. The - -- empty -- top, bottom, left and right margins depend on the - paper/printer used; they can not be altered within {\PMX}. - } -is 740\,pt $\times$ 524\,pt (10.3\," $\times$ 7.3\,", or 261\,mm -$\times$ 185\,mm). To change the height or width, use the special -symbols \texttt{h}[\emph{n}][\emph{u}] or \texttt{w}[\emph{n}][\emph{u}] -in the header. Here \emph{n} is a decimal number for the new size, and -\emph{u} defines the units: \texttt{i} for inches. \texttt{m} for -millimeters, and \texttt{p} for points. if no unit name \emph{u} is -given, \PMX} uses points as the default. - -This command can be used together with \texttt{\%\%} or \texttt{\%!} -(see Section~\ref{sec:scor2prt}) to give the parts made by -\textbf{scor2prt} different page sizes than the parent score. - -\medskip -\Note{This usage of the \textbf{h} symbol is not to be confused with - that for a line of text above a system (see - Section~\ref{sec:titles})! Although both can occur together in the - header, they are in fact, different {\PMX} symbols, distinguished - by their differing syntax. - } - -\subsection{Stem direction of bass notes} \label{sec:stemdirs} - _{stems!direction of bass notes} _{B symbol@\texttt{B} symbol} -By default {\PMX} makes stems go \emph{up} for middle-line D's in bass -clef, but \emph{down} for notes on the middle line of all other clefs. -If you want middle-line bass-clef notes also to have downward stems by -default, enter the symbol \texttt{B} in the header. - -\subsection{Horizontal Spacing} \label{sec:spacing} - _{spacing!horizontal} - -\subsection*{Minimum Spacing between Notes} - -_{W symbol@\texttt{W} symbol} _{spacing!minimum between notes} -{\PMX} does some special, complex analysis to adjust horizontal spacing -in crowded systems. By default, the minimum space between consecutive -noteheads is 0.3 notehead widths. If you want to change this value to -some other fraction, enter \texttt{W.}$[n]$, where $n$ is a single digit -between \texttt{1} and \texttt{9}, giving the minimum spacing, in tenths -of a notehead width. This adjustment is very rarely used. - -\subsubsection*{Extra Horizontal Shifts and hardspace} - _{spacing!hard space} _{hard space|see{spacing}} - -{\PMX} will usually provide satisfactory horizontal spacing. However, -there may be some occasions where you will want to adjust it manually. A -symbol starting with {\tt X} controls one of two available types of -horizontal adjustment: -\begin{enumerate} - \item a \emph{shift} moves one or more characters in the current voice - but does not affect any other spacing anywhere, - \item a \emph{hardspace}, by contrast, is a fixed amount of space - inserted at a particular time. The horizontal positions of - everything in all staves in the system will be adjusted to - accommodate the added space while maintaining vertical - alignment. -\end{enumerate} -Here are the syntactic possibilities: -\begin{itemize} _{X symbol} - \item \texttt{XS}$[x]$ (for \textbf{S}hift). This command shifts the - the next character; $x$ is a decimal number, giving the amount - of shift, in units of a notehead width. - \item \texttt{X:[}$x$\texttt{]} or \texttt{X[}$x$\texttt{]:} - initiates a ``group shift'', which operates like - \texttt{XS[}$x$\texttt{]}, except that everything from the - insertion point onward in the current voice is shifted until a - termination symbol (``shift end'') is encountered. - \item \texttt{X:} ends a ``group shift''. - \item \texttt{X}$[x]$ (without any \texttt{S} or \texttt{:}) is a - so-called \emph{hard space}. It inserts the specified space, - given in units of notehead widths, at the present point in - \emph{all staves} of the system. If $x$ is negative, space will - be removed. -\end{itemize} - -_{X symbol!with \textbf{scor2prt}} -Because horizontal spacing in parts will usually differ from that in the -score, \textbf{scor2prt} (cf.~Section~\ref{sec:scor2prt}) will by default -copy \emph{only} the shift commands \texttt{XS}$[x]$, \texttt{X:}$[x]$ -and \texttt{X:} into the parts, but \emph{not} the hardspace command -\texttt{X}$[x]$ . - - -\medskip -This behavior can be overridden using the methods described in -section~\ref{sec:scor2prt}. There is, however, an alternative method that -helps to keep {\PMX} score files neat and readable: add the suboption -\texttt{B} or \texttt{P} (without space, as usual) to the \texttt{X} -symbol: -\begin{itemize} - \item \texttt{B} (for \textbf{B}oth): with this option, the spacing - symbol is to be applied to \textbf{b}oth score and part, - \item \texttt{P} (for \textbf{P}art): with this option, the spacing - symbol is to be applied to the \textbf{p}arts only. -\end{itemize} - -\section{Macros} \label{sec:macros} _{\PMX!macros} _{M symbol@\texttt{M} symbol} - -A {\PMX} macro is a single symbol that stands literally for any -any string of characters that may occur in the input file\,% -\footnote{Note to seasoned programmers: {\PMX} macros are not really - macros in the usual sense, but merely string abbreviations; - they \emph{do not allow} for variables. - _{\PMX!macros!no variables} - }. -Macros may be useful to save tedious typing and disk space, and make -{\PMX} source text more readable if you need to repeat the same string -many times in a score. - -\medskip -You may define up to 20 macros in any single {\PMX} input file. There is -no practical limit to the length of the character string that a -macro represents, but of course it must respect the {\PMX} rules on the -length of input lines and what must go on separate lines. - -\medskip -Macros only exist within the {\PMX} input file where they are defined; -you can define a completely new set of macros in another {\PMX} input -file. Conversely, if you want to re-use the macros of file -\texttt{myopus1.pmx} in \texttt{myopus2.pmx}, you need to copy them -explicitly from one file to the other. - -\medskip -There are two distinct ways to define and record a new macro or -redefine an existing one: - -\begin{enumerate} - \item to \textbf{R}\emph{ecord} a \textbf{M}acro: type - \texttt{MR}$[n]$, followed by a space, as usual. $n$, the - ``name'' of the macro, is an integer between 1 and 20. - Everything you type after this will be processed normally, at - that point in the input file, as well as stored, until you end - the macro by entering the symbol \texttt{M}, - \item to \textbf{S}\emph{ave} a \textbf{M}acro: type - \texttt{MS}$[n]$. Everything you type after this will be - recorded (saved) as you enter it, \emph{without processing} - the {\PMX} code. When saving macros, it is usually best to put - them in the header, for readability's sake. -\end{enumerate} - -Whenever you would otherwise need to re-enter the same character string, -you can simply \texttt{P}lay back the macro by typing \texttt{MP}$[n]$~. - -\medskip -Macros can be redefined at will; {\PMX} will issue a warning whenever -this occurs. - -\bigskip _{\textbf{scor2prt}!macros} When you use -macros and want to make separate parts -(cf.~Section~\ref{sec:scor2prt}), some care is necessary: -\textbf{scor2prt} will transfer a \texttt{MR} macro only into the part -where it originated, but will transfer \texttt{MS} macros into all -parts. - -\medskip -So if you want to make macro 1, which you will use in several or all -parts and then use it immediately in the part in which you write it, -dont use simply \verb#MR1#, but rather -\begin {verbatim} - MS1 - MP1 -\end{verbatim} - -\bigskip -Fig.~\ref{fig:macro} contains an example of the use of macros. - -\bigskip -\begin{figure}[!htb] - \begin{center} - \includegraphics[scale=.82]{eps/macro.eps} \\[2ex] ------------------------------------------- - -\begin{minipage}{300pt} -\small -\begin{verbatim} -% macro 2 saved: -MS2 e4 f g2 o_ | M -% Bar 1 (macro 1 recorded and processed): -Rl MR1 c45 d e c | M -% Bar 2 (macro 1 played): -MP1 -% Bar 3 (macro 2 played): -MP2 -% macro 4 saved: -MS4 c4 g c2 o_ M -% Bar 4 (macro 2 played): -MP2 -% Bar 5 (macro 3 recorded and processed): -MR3 g85 a g f e4 c | M -% Bar 6 (macro 3 played): -MP3 -% Bar 7 (macro 4 played): -MP4 | -% Bar 8 (macro 4 played): -MP4 Rr / -% -\end{verbatim} - -\vspace*{2ex} -\end{minipage} - \end{center} - \caption{``\emph{FrŠre Jacques}'' (usage of macros)} - \label{fig:macro} -\end{figure} - -\section{Inline {\TeX} commands} \label{sec:inlineTeX} - _{inline \TeX} - -It may be worthwhile to reiterate at this point the very different -intentions of the software ingredients which make up the {\PMX} tool. It -is, in fact, a hierarchy: -\begin{enumerate} - \item _{\TeX} _{Knuth, Donald E.} - At the base of it all is {\TeX}. {\TeX} (written by Donald - E.\ Knuth) is a general and extremely powerful tool for - typesetting high-quality documents on a computer that are ready - for printing\,% - \footnote{``Its emphasis is on art and technology, as in the - underlying Greek word.'' (quote from the introduction - of \emph{the {\TeX}book}, the authoritative book on - {\TeX}, by Donald E.\ Knuth. _{Knuth, Donald E.} - }. - But {\TeX} is much more than that: it is a full-grown and - powerful computer programming language with which -- if you are - a {\TeX}pert -- you can do almost anything. - - \medskip - There is, however, a price to pay for this power: while you - don't have to be a professional computer programmer to use - {\TeX}, a pretty good familiarity with the basics of - programming is unavoidable. - \item _{\MusiXTeX} _{Taupin, Daniel} - {\MusiXTeX} (written essentially by Daniel Taupin) is a - `macro' for {\TeX}\,% - \footnote{To be precise, {\MusiXTeX} consists of a very - extensive set of {\TeX} `macros' and music - typesetting fonts. - }. - That alleviates most of the {\TeX} programming tasks for the - special purpose of typesetting music. Thus, while it helps to - have a programming background, such a background is not - absolutely essentially for someone who just wants to write a - few simple music scores. - \item _{\PMX} _{Simons, Don} - {\PMX}, the `preprocessor' for {\MusiXTeX} written by Don - Simons and described in detail in this tutorial, is yet another - level of abstraction on the long way from the musical ideas - that make up a score to getting ink on the paper at certain - points. The whole purpose of {\PMX} is to make typesetting of - music with {\MusiXTeX}/{\TeX} accessible to people with - essentially \emph{no} prowess in computer programming. -\end{enumerate} -As a consequence of this hierarchy, {\PMX} is vastly simpler to use than -{\MusiXTeX}, which in turn is simpler than straight {\TeX}. But the -converse of this is also true: there are elements in {\MusiXTeX} that -are not directly accessible with the {\PMX} language, just as you cannot -unleash the full power of {\TeX} with {\MusiXTeX} alone. -So to allow the user full access to `lower-level' {\MusiXTeX} or {\TeX} -- -while maintaining its higher-level notational simplicity -- {\PMX} -supports the inclusion of {\TeX} commands either directly in the -{\PMX} input file or via an external file. - -\subsection{Including {\TeX} Commands in the \texttt{.pmx} source file} - _{inline \TeX!in \texttt{.pmx} source} -The normal way for a {\PMX} user to insert user-defined {\TeX} code is -to enter it directly in the \texttt{.pmx} input file; this is what is -referred to as ``\,inline {\TeX}\,'' in this tutorial. There are four ways -to do that; these differ mainly in where the {\TeX} code will appear in -the {\PMX} output \texttt{.tex} file. The first 3 of these have \bs\ , -\bs\bs\ or \bs\bs\bs\ (1, 2 or 3 backslashes) as a starting symbol, then -comes a sequence of {\TeX} commands, then another \bs\ (backslash) as a -terminating symbol, followed by the usual space\,% -\footnote{This means that type 1, 2, and 3 {\TeX} strings may \emph{not} - contain the \TeX\ macro `\bs\,\,\,' \,(backslash-space). If - you really need that, replace it by \bs\texttt{relax }. - }. -All three of these must be contained fully in \emph{one line of input}, -limited by default to 128 characters (cf.~Section~\ref{sec:limits}); but -this one line can contain any number of concatenated {\TeX} commands. - -\medskip -The above description needs clarification on a subtle point: the -starting symbols \bs\ , \bs\bs\ or \bs\bs\bs\ \, are \emph{not} really -{\PMX} symbols in the sense used throughout this tutorial, in that there -would be `white space' after them, but the {\TeX} command(s) follow them -\emph{without a blank}. This has to do with the fact that all {\TeX} -commands -- called `control sequences' -- start out with a \bs\ . And -thus the last of the starting backslashes (the only one for type 1, -the second one for type 2, the third one for type 3) counts as the -{\TeX} control character of the following {\TeX} command. For example, -if you wanted to define a new {\TeX} command \verb#\Myspace# as a type 1 -inline command, you would write -\begin{center} \verb#\def\Myspace\hskip{10mm}\ # \end{center} -whereas if it is to be a type 3 inline command, it would read -\begin{center} \verb#\\\def\Myspace\hskip{10mm}\ # \end{center} -in other words: the starting symbol itself also provides the first \bs\ -of the {\TeX} command (control sequence). - -This convention can also be seen clearly in the examples given below. - -\bigskip -Here are the characteristics of the first three types: -\begin{description} _{inline \TeX!Type 1/2/3/4} - \item[Type 1 ( \bs\ \dots \bs\ ) : ] - a Type 1 string usually serves to define or execute a command - that is only needed locally for the current line of music, right - after the place where it is entered in the \texttt{.pmx} file. - {\PMX} inserts it in the resulting \texttt{.tex} file right - before the {\MusiXTeX} command for the next note or rest. - Multiple type 1 strings associated with the same note or rest - are allowed, although the total length may not exceed 128 - characters. So there is generally no reason not to combine all - {\TeX} commands for a single note into a single type 1 string. - - \Note{If an inline {\TeX} string contains a new {\TeX} - definition, this definition is in general \emph{not} - local; depending on circumstances, it can remain valid - throughout the score and for \emph{all instruments} unless - redefined somewhere\,! This is true for all types of - inline {\TeX}, Type 3 in particular. So be careful! - } - \item[Type 2 ( \bs\bs\ \dots \bs\ ) : ] a Type 2 string usually serves - to define or execute a command that is needed throughout the - entire score. It will appear near the top of the \texttt{.tex} - file, right before the \bs\texttt{startmuflex}, regardless of - where it appears in the \texttt{.pmx} file. - \item[Type 3 ( \bs\bs\bs\ \dots \bs\ ) : ] Type 3 strings will appear - in the \texttt{.tex} file right before the \bs\texttt{xbar} or - \bs\texttt{alaligne} of the current input block, i.e.\ before - its first bar line. Thus a Type 3 string is typically used when - you want to redefine a previously defined {\TeX} command, to be - valid from a certain point on, but not before. - \item[Type 4 : ] \label{sec:inlinetypefour} - The fourth way of inserting inline {\TeX} in a \texttt{.pmx} - file is different from the first three in several ways: - \begin{itemize} - \item it is started by the character sequence \verb#---# - (triple dashes), on a line by itself, as the very first - line of the \texttt{.pmx} file, - \item it is terminated by the next appearance of the same - character sequence, \verb#---# (triple dashes), on a - separate line, - \item it can contain any number of lines with {\TeX} code, - although every single of these lines is again - restricted to a total of 128 characters, - \item the lines of {\TeX} code between the opening and - terminating triple dashes will be copied - \emph{literally} to the very top of the \texttt{.tex} - file. - \end{itemize} - So Type 4 can also be (ab)used to copy comment lines - literally from the \texttt{.pmx} file to the \texttt{.tex} file. - This is convenient for documentation purposes. -\end{description} - -\medskip _{inline \TeX!handled by \textbf{scor2prt}} -Another difference of practical importance is the way in which -\textbf{scor2prt} handles these type of inline {\TeX} when making -separate parts (cf.~Section~\ref{sec:scor2prt}): types 2-4 will be -copied into all parts, while type 1 only goes into the part in which it -appears in the original \texttt{.pmx} file. - -\bigskip\bigskip -To understand better the differences between these 4 types on inline -{\TeX}, it may be useful to study the basic structure of the {\TeX} file -\texttt{inlinesample.tex}, given in Table~\ref{tab:inlinesample.tex}, -produced from the {\PMX} input file \texttt{inlinesample.pmx}, given in -Fig.~\ref{fig:inlinesample.pmx}. In doing so, you may want to look at -the box on p.~\pageref{p:inlinesample.txt}. - -\begin{figure}[!ht] - \begin{center} - _{\MusiXTeX!\bs\texttt{PED}} _{\MusiXTeX!\bs\texttt{DEP}} - \includegraphics[scale=.82]{eps/inlinesample.eps} \\[2ex] - ------------------------------------------ - \begin{minipage}{380pt} - \small - \begin{verbatim} -% beginning of inlinesample.pmx ---- -% This sample demonstrates the use of all 4 types of inline TeX ---- -% PREAMBLE: -% -1 1 -1 2 0 0 -0 0 -1 2 16 .0 -% - -t -./ -% BODY: -% HEADER: -w80m -\\nobarnumbers\ -% begin of music input: -g24 | / -\\\systemnumbers\ -\zcharnote{-2}{\PED}\ a D"\DEP"+3+15 | / -\\\barnumbers\ c Rb / -% end of inlinesample.pmx - \end{verbatim} - \end{minipage} \\[2ex] - \end{center} - \caption{A sample for the use of inline {\TeX} } - \label{fig:inlinesample.pmx} -\end{figure} - -\clearpage -\begin{table}[!ht] - \begin{center} - \begin{minipage}{400pt} - \small - \begin{verbatim} - %%%%%%%%%%%%%%%%% - % - % inlinesample.tex - % - %%%%%%%%%%%%%%%% - 6 % This sample demonstrates the use of all 4 types of inline TeX - 7 \input musixtex - 8 \input pmx - 9 \input musixmad - \smallmusicsize% - \nopagenumbers - \tracingstats=2\relax - \hsize=227pt - \vsize740pt - \def\nbinstruments{1} - \setstaffs11 - \setclef10 - \setname1{ } - \generalsignature{ 0}% - \parindent 0pt - \elemskip1pt\afterruleskip1.000pt\beforeruleskip0pt\relax - \stafftopmarg0pt\staffbotmarg5\Interligne\interstaff{10}\relax -23 \nostartrule -24 \readmod{inlinesample} -25 \nobarnumbers% - \startmuflex\startpiece\addspace\afterruleskip% - % BODY: - % begin of music input: - \znotes\zcharnote{16}{\titles{2.0}{}{0}{}{0}{}{0}}\en% - % Bar count 1 -31 \pnotes{4.00}\hu g\en% -32 \systemnumbers% - % Bar count 2 -34 \alaligne -35 \pnotes{4.00}\zcharnote{-2}{\PED}\txtdyn{-2}{15.0}{\normtype\it \DEP}% - \hu{'a}\en% -37 \barnumbers% - % Bar count 3 -39 \xbar - \pnotes{4.00}\hl{'c}\en% - \endpiece - \vfill\eject\endmuflex - \bye - \end{verbatim} - \end{minipage} - \end{center} - \caption{\texttt{inlinesample.tex}, as produced from - \texttt{inlinesample.pmx} - } - \label{tab:inlinesample.tex} -\end{table} - -\clearpage -% _{inline \TeX!in external file} -\begin{table}[!ht] -\begin{center} _{inline \TeX!placement in \texttt{.tex} file} -\fbox{ -\begin{minipage}{350pt} -Here is a short survey of what happens in the file -\texttt{inlinesample.tex} (cf.~Table~\ref{tab:inlinesample.tex}), -produced from \texttt{inlinesample.pmx} -(cf.~Fig.~\ref{fig:inlinesample.pmx}): - -\begin{itemize} - \item first, after the file name comment, which is inserted - automatically by _{\textbf{pmxab}} \textbf{pmxab}, the Type 4 - string (the comment line on the top of the \texttt{.pmx} file) - is inserted [line 6], - \item then the files \texttt{musixtex.tex, pmx.tex} and - \texttt{musicmad.tex} are always read in [lines [7,8,9]. This - means that the \texttt{.tex} that {\PMX} produces has - \emph{access to all the {\TeX} macros} defined in these files, - and therefore you can use all of these in your inline {\TeX} - commands, - \item next, up to and including \bs\texttt{nostartrule} [line 23], - there are a lot of settings, the details of which need not - concern us here, - - \medskip - The following {\TeX} macro [line 24], - \bs\texttt{readmod{sample}} , tells {\TeX} to read in the file - \texttt{inlinesample.mod} (if it exists). The file - \texttt{inlinesample.mod} may contain any valid {\TeX} code of - your choosing (cf.~Section~\ref{sec:external} for details on - this), - \item next [line 25] is the Type 2 string - ``\bs\bs\texttt{nobarnumbers}\bs''. Type 2 strings are - \emph{always} inserted at this point of the \texttt{.tex} file, - \item \bs\texttt{startmuflex} [line 26] -- never mind what exactly it - does -- is the actual beginning of the musical code, - \item several lines down [line 31] there is an item - \bs\texttt{hu g} : this is the half-note $g$ of the first - bar, - \item [line 32] contains the Type 3 string - ``\bs\texttt{systemnumbers}\bs''. This changes the bar - numbering scheme to the {\PMX} default - (cf.~Section~\ref{sec:barnumbers}). {\PMX} inserted this Type - 3 string right before the next \bs\texttt{alaligne} [line 34], - \item [line 35] contains the Type 1 string - ``\bs\texttt{zcharnote{-2}}\bs\texttt{PED}\bs'', which prints - the {\MusiXTeX} pedal\,% - \footnote{The `end of pedal' symbol \bs\texttt{DEP} is coded - here in an alternative (perhaps simpler) way by using - a {\PMX} dynamics textual symbol - (cf.~Section~\ref{sec:dynamics}). - _{dynamic marks!textual} - }, - \item [line 37] contains another Type 3 string - ``\bs\texttt{barnumbers}\bs'', before the code for bar 3 , - inserted right before \bs\texttt{xbar} in line 39 (coding the - bar line). This changes the bar numbering scheme once again. -\end{itemize} -\end{minipage} - } -\end{center} \label{p:inlinesample.txt} -\end{table} - -\bigskip -\subsection{Denoting pitch in inline {\TeX} } -_{inline \TeX!pitch given as a number} -_{pitch!in inline \TeX!} - -When using inline {\TeX}, you should be aware of a subtle aspect, which -can be a hazard: - -\smallskip -In {\MusiXTeX}, you can always refer to a pitch with a number, rather -than a letter, and that number denotes exactly the position on whatever -staff you are using, counting from the bottom line as $0$ . - -When you use this for a pitch, it will not be transposable, nor will it -respect (or indeed affect!) the memory \PMX\ keeps on the pitch: remember -that {\PMX} doesn't interpret any inline {\TeX} . - -You should keep this in mind when designating a pitch within an inline -{\TeX} command. - -\bigskip\noindent -We close this section with two practical examples and a final remark: -\begin{itemize} - \item _{\textbf{musixpss}} - As was stated in Section~\ref{p:useMslurs}, when using Type - M slurs you need to insert the line - \begin{center} - \bs\bs\texttt{input~musixpss{\bs}relax}\bs\ - \end{center} - into the header of the \texttt{.pmx} file. This tells {\PMX} to - read in the file \texttt{musixpss.tex}, which contains the - macros for Type M slurs. - - \medskip - This is the case of a type 2 inline {\TeX} string, and thus - the input command is added to the \texttt{.tex} file right - before \bs\texttt{startmuflex} (which is where it belongs). - \item _{clefs!exotic} _{clefs!octave clefs} _{clefs!symbols} - _{clefs!empty} _{octaviation!of clefs} - Sometimes one needs clefs other than those defined in {\PMX} - (cf.~Section~\ref{sec:numinput}). Some special clef symbols - (among them no clef at all) are defined in {\MusiXTeX} and can - be invoked by the command \bs\texttt{setclefsymbol} (cf.~the - {\MusiXTeX}~\texttt{1.15} manual, Sec.~2.21.2). The most common - of these are octave treble and octave bass clefs, in which a - small $8$ is attached to either the top or the bottom of the - clef symbol. To get a higher octave treble key for instrument - number $2$, for example\,% - \footnote{Matters are more complicated for instruments with - more than 1 staff, such as piano or organ, because - the number in the command refers to the number of the - \emph{instrument}, not the staff. Cf.~the - {\MusiXTeX}~\texttt{1.15} manual, Sec.~2.27.10 for - details. - }, - just add the following type 2 inline {\MusiXTeX} command - \begin{center} - \bs\bs\texttt{setclefsymbol}\{\texttt{2}\} - \qquad \bs\texttt{trebleoct}\bs \qquad. - \end{center} - The other 3 octave clef symbols are \bs\texttt{treblelowoct}, - \bs\texttt{bassoct},\bs\texttt{basslowoct}, for lower octave - treble, higher octave bass and lower octave bass clefs, resp. - -\end{itemize} -More examples can be seen in Section~\ref{sec:tricks} and in some of the -scores of the appendix. - -%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% -%%%%%%%% Temp %%%%%%%%%%%%%%%%%%%%%%% Fri 2010 Dec 17 /15:6 /ccn -%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% - -\subsection{Putting {\TeX} Commands in an external file} - \label{sec:external} _{inline \TeX!in external file} - -_{directory} -{\PMX} provides one further option for entering an unlimited set of -{\TeX} commands, read into the {.tex} file by \verb#\readmod# just -before the \bs\texttt{startmuflex} line. command, and before any Type 2 -inline {\TeX} strings. Simply put the commands into a text file named -[\emph{filename}]\texttt{.mod} in the current directory\,% -\footnote{This feature is retained mainly for backward compatibility - with previous versions of {\PMX}; it has now been essentially - replaced by the 4 options for inline {\TeX} strings described - above. - }. - -%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% -% PMX tutorial by ccn / chapter C starts here: -%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% -\chapter{Special Features} \label{sec:specials} - -\section{Making Parts from a Score} - \label{sec:scor2prt} - -\begin{figure}[!ht] - \begin{center} - \raisebox{-0.75ex}{% - \includegraphics[scale=.75]{eps/JChrBach.eps} } - \end{center} - \caption{\textbf{F.Chr.\ Bach}, - \emph{quartet B-Dur (p.\ 1)} - } - \label{fig:JChBach} -\end{figure} - -Separate parts can be made from a score with the tool -\textbf{scor2prt} (included in the standard {\PMX} -distribution). - -Suppose you want to produce the parts to page 1 of a J.Chr.Bach -quartet (Fig.~\ref{fig:JChBach}), and the \texttt{.pmx} file of -that score is called \verb#JChBach.pmx#. -All you to need to do is to run - -\vspace*{-2ex} -\begin{center} - \begin{verbatim} - scor2prt JChBach - \end{verbatim} -\end{center} - -\vspace*{-4ex}\noindent -from the command line (if you omit the file name, you will be -prompted for one). The program will then create the following -\texttt{.pmx} files, one for each instrument: - -\vspace*{-2ex} -\begin{center} - \begin{verbatim} - JChBach1.pmx - JChBach2.pmx - JChBach3.pmx - JChBach4.pmx - \end{verbatim} -\end{center} - -\vspace*{-3ex} -To obtain the parts, you then need to run each of these files -through {\PMX}, in the usual way. - -As can be seen in the example, the parts files will be named -[\emph{yourscorename}][\emph{n}]\texttt{.pmx}, where [\emph{n}] is the -number of the instrument, by default; but the names of the files -created by \textbf{scor2prt} can be changed from within the {\PMX} file -for the whole score, the ``parent file''. For example, to cause the -file for instrument 3 to be named \texttt{mviolins.pmx}, include the -command \texttt{AN3"mviolins"} in the header of the parent file -(cf.~Table~\ref{tab:A}). - -\bigskip -In the remainder of this section we describe how to control the layout -of the parts separately from that of the score by using commands that -are placed in the parent file. This eliminates the need for editing the -\texttt{.pmx} files for the parts separately. You can accomplish all -the editing in the parent file, and then re-run \textbf{scor2prt} as -required. Thus both the score and the parts can be corrected together, -and the parts need not be re-edited each time they are re-generated from -the score. - -\subsection{Usage} -_{\textbf{scor2prt}!usage} _{comments!usage with \textbf{scor2prt}} - -Since comment lines are by definition disregarded by {\TeX} and by the -{\PMX} program itself (\textbf{pmxab}, to be exact), they can, with a -slight extension of their syntax, be used to transfer information -\emph{meant for the parts only}\,% -\footnote{This is quite a useful method, employed in a similar way by - other programs, such as the PostScript language. - _{PostScript} - }. -The following rules are used for this by the \verb#scor2prt# program: -\begin{itemize} - \item If a line has \texttt{\%} in columns 1 and a space in column 2, - it is considered a regular comment and transferred as such to - all parts. - \item If a line has \texttt{\%\%} in columns 1-2, both it \emph{and - the following line} will be ignored when making parts. If the - ignored line (the second line) has \texttt{h}, \texttt{l}, or - \texttt{T} in its first column, then \emph{one additional line} - will be ignored (cf.~\ref{sec:titles} for the rationale behind - this rule). - \item If a line has \texttt{\%!} in columns 1-2, these first 2 - characters will be stripped, and the rest of the line will be - put in the \texttt{.pmx} files for \emph{all} the parts. - \item If a line has \texttt{\%}[\emph{h}] in columns 1-2, where - \emph{h} is the hexadecimal digit representing the instrument - number (\texttt{1, 2,..., 9, a, b, c}), the first two - characters will be stripped and the rest of the line - transferred to the part for instrument \emph{h} \emph{only} . - - \smallskip - A good example for this usage is the page break(s) in a longer - score, where the appropriate page numbers for the parts will be - different from those in the full score. - For example, to force a line break to system 15 and a page - break to page 2 in \emph{part 11 only}, enter - \texttt{\%bL15P2}. - - _{\textbf{scor2prt}!HEX digit usage incompatible with - previous {\PMX} versions} - - \Note{The use of the hexadecimal digits \texttt{a-c} in this - rule creates a potential incompatibility with previous - versions of {\PMX}. To minimize this, the character after - ``{\tt\%}" will \emph{only} be interpreted as a part - number if it represents a number less than or equal - \texttt{noinst}, as given in the parent file; otherwise - the entire line will be treated as an ordinary comment, - and transferred to all parts. - } - - \item In addition to all entries in the header except \texttt{I} - options (cf.\ Sec.~\ref{sec:MIDI}, p.~\pageref{sec:MIDI}), the - following {\PMX} symbols \emph{with all their options} will - automatically be copied to \emph{all parts} (unless the - previous line starts with \texttt{\%\%}, of course): - - \begin{center}\begin{tabular}{l@{\qquad}l} \texttt{R} & (bar - symbol) \\ \texttt{V} & (volta) \\ \texttt{K} & (key - change or transposition) \\ \texttt{A} & (global options) - \\ \end{tabular}\end{center} This is true for - \texttt{R,V,K}, in spite of the fact that they can be - entered in the \emph{first} voice of the score only! - \end{itemize} - -\subsection{The \texttt{S} symbol} \label{sec:Ssymbol} - _{S symbol@\texttt{S} symbol} - -\begin{itemize} - \item \texttt{S}[\emph{n}]: - - By default the total number of systems in each part will be the - same as in the score. If you want to override this, you can do - that with \texttt{S}[\emph{n}], where \emph{n} is - the desired number of systems. \texttt{S}[\emph{n}], if used, - must appear in the header of the parent file. Legally, you - could use \texttt{S}[\emph{n}] to reset the number of systems - for the parent file itself, which you had just defined in the - preamble. That, of course, does not make much sense, but in - the form \\ - \text{\quad}\texttt{\%!S}[\emph{n}] \\ - or \\ - \text{\quad}\texttt{\%}[\emph{k}]\texttt{S}[\emph{n}] \\[1ex] - it does, because then it does \emph{not} affect the full - score, \emph{but all parts}, or part k only, resp. \\ - \texttt{barsant.pmx}, one of the examples given in Section - \ref{sec:donsexamples}, includes a demonstration of this. - \item \texttt{S}[\emph{n}]\texttt{P}[\emph{m}]: - - \textbf{scor2prt} will also compute how many pages it thinks - each part should have, and enter that into the preamble for - that part. If you wish to override that, then insert into the - parent file \texttt{\%3S14P2} for example, which would force - the third part to have 14 systems and 2 pages. You cannot - override the number of pages without first overriding the - number of systems. - - \item \texttt{S}[\emph{n}]\texttt{m}[\emph{k}]: - - A musicsize of 20 is the default in all parts. This may be - overridden with the option \texttt{m} in the symbol \texttt{S}: - e.g., \texttt{\%2S15m16}. Again, you must specify the number of - systems before setting the musicsize. -\end{itemize} - -\Note{Keep in mind the distinction among the various usages of - \texttt{P}: - \begin{itemize} - \item as an option with \texttt{S}, it sets the total number of - pages in a part, - \item as an option with \texttt{L}, it forces a page break, - \item as a {\PMX} command on its own, it controls page - numbering and centered headings. - \end{itemize} _{P symbol@\texttt{P} symbol} - } -\subsection{Other usage rules} - _{\textbf{scor2prt}!usage} -\begin{itemize} - - \item Inline {\TeX} strings of Type 2-4 will be copied to all parts, - while a type 1 inline {\TeX} string will only go into the part - in which it occurs in the parent file. - \item _{spacing!hard space use with \textbf{scor2prt}} - User-defined hardspaces (\texttt{X} without \texttt{:}) are by - default not copied to parts. There are two ways to change this - default: _{X symbol} - \begin{enumerate} - \item use the options of the \texttt{X} command - (cf.~Section~\ref{sec:spacing}): \texttt{B} causes - the hardspace to be used in \textbf{b}oth score and - parts; \texttt{P} puts it into the \textbf{p}arts, but - not the score, - \item to insert \emph{x} notehead widths of hardspace into - part \emph{n}, place the symbol - {\tt\%}[\emph{n}]\texttt{X}[\emph{x}], on a line of - its own, in the parent file. - \end{enumerate} - _{page!numbering!with \textbf{scor2prt}} - _{\textbf{scor2prt}! page numbering} - \item As was already noted (cf.~Section~\ref{sec:pagenumbers}), a - \texttt{P} symbol for page numbering in the parent file is - ignored when making parts. To initiate page numbering in the - parts, use, for example, \texttt{\%!P} , with appropriate - options added, anywhere within the {\PMX} code representing the - first page of the parts\,% - \footnote{From \TeX 's standpoint the command must occur - between the beginning and end of the page on which - the numbering is to begin. - }. - It will often be useful in this case to use the option - \texttt{c} , which by default causes the instrument name to be - centered in small type at the top of every page after the - first. - \item _{MIDI!with \textbf{scor2prt}} \label{p:MIDI} - MIDI commands, i.e., those starting with \texttt{I}, will never - be copied into parts, unless they are in a special comment line - as just described. - \item _{rest!multibar rest} - One function of \textbf{scor2prt} is to condense consecutive - bars of rest into a single group of special printed characters - with a number above it. Thus \textbf{scor2prt} will automatically - insert \texttt{rm} symbols (cf.\ Sec.~\ref{sec:rests}) into the - \texttt{.pmx} files for the parts where appropriate. However, - for this feature to work, the \emph{first} full-bar rest in the - sequence \emph{must} have its duration explicitly defined in - the parent file, either with a digit or with \texttt{p}. In - other words, the feature will not work if the first rest in the - sequence inherits its duration from the previous note. -\end{itemize} - -\bigskip -\Note{In standard {\TeX} the rule for comments is: a \% character - \emph{and all text that follows it on the same line} is treated as - a comment, i.e.\ it is totally ignored by the program. As a - consequence of this rule, many users of {\TeX} have a habit of - adding comments at the end of short lines of text, instead of - writing a whole comment line, starting with a \% in column 1 . - This is fine as far as {\PMX} is concerned; but - _{\textbf{scor2prt}} \textbf{scor2prt} redefines this rule a bit - and in general \emph{will misinterpret comments added in the same - line after} some legal {\PMX} code. _{comments!usage with - \textbf{scor2prt}} - - \medskip - \emph{So when you intend to make parts using} \textbf{scor2prt}, - it is good practice to restrict true comments to lines with \% - \emph{in column} 1, \emph{followed by at least one blank}. - } - -\section{Making MIDI Files} \label{sec:MIDI} -_{MIDI} - -Some users of {\PMX} and {\MusiXTeX} may never have heard of MIDI and -may therefore be a bit bewildered by this section. So here is a quick -introduction: -\begin{quotation} - MIDI stands for ``\textbf{M}usical \textbf{I}nstruments - \textbf{D}igital \textbf{I}nterface''. It is essentially a standard, - consisting of a language and its hardware implementation, designed - to produce digitally coded music with a device like a synthesizer or - a multi-media computer. If your computer is equipped with the - appropriate hardware and software (which is standard on PC's these - days), you can listen to the music encoded in a MIDI file on your - computer just as you can read the text encoded in a text file\,% - \footnote{If you are interested in details on MIDI in general, a good - place to start is the home page of the ``MIDI - Manufacturer's Association'': - \href{http://www.midi.org/about-midi/aboutmidi3.shtml}% - {\texttt{http://www.midi.org/about-midi/aboutmidi3.shtml}% - }~. - }. -\end{quotation} - -\bigskip -This section describes how to produce such MIDI files when writing a -piece of music with {\PMX}. When using this facility, you should be -aware both of the general restrictions of MIDI and the special ones that -{\PMX} imposes: - -\begin{itemize} - \item First of all, you should not expect the MIDI files that {\PMX} - produces to be anything that resembles a performance of the - piece by real, human musicians. While MIDI does make different - shades of sound for the different instruments, the lack of any - kind of expressivity (rhythmic accentuation, dynamics, vibrato, - intonation etc.) does not really do justice to the musical - character of acoustic instruments. - - \medskip - So the MIDI file can be hardly more than an acoustic check on - whether the notes produced are indeed what you had intended. - But for that purpose it can be of great help in coding a score - with {\PMX}, so it is generally advisable to produce the MIDI - files. - \item _{grace notes!not in MIDI} _{ornaments!not in MIDI} - _{repeats!not in MIDI} _{volte!not in MIDI} - _{volte!not in MIDI} _{slurs!in MIDI} - \label{p:midi} - The MIDI module of {\PMX} does not recognize graces, ornaments, - repeats, volte, or segnos. The only ties that are recognized - are those using \texttt{s}, \texttt{t} or \texttt{(} \,; alone, - with no explicit ID number. - \item the MIDI file generator does not support changing the number of - instruments in midstream. You will not see an error message, - but the results will be unpredictable. -\end{itemize} - -The MIDI file is produced by {\PMX} concurrently with the {\MusiXTeX} -output. To start this, enter the symbol \texttt{I}, together with any -options (as described below), usually in the header of the input file; -but \texttt{I} symbols can appear later in the file as well, but only at -the \emph{start of an input block}. -_{I symbol@\texttt{I} symbol} - -If the name of the {\PMX} source file is, say, \texttt{Mymusic.pmx}, the -MIDI symbol \texttt{I} will cause a file \texttt{Mymusic.mid} to be -written in the directory given in the preamble. If \texttt{I} is used -without any options, {\PMX} will use default values for several of the -parameters; these default values are indicated below. - -\medskip -Usually, however, you will want to specify some options. They follow the -MIDI symbol \texttt{I} immediately, without a space. Sometimes the order -of the options matters, so it is generally advisable to adhere to the -order in which they are given here: - -\begin{enumerate} _{MIDI!parameters} - \item \texttt{t}[\emph{x}] sets the tempo to \emph{x} - quarter notes per minute. Default is 96. You can change the - tempo as often as you like, but only at the start of an input - block (as with all MIDI commands). - \item _{instruments!names!in MIDI} - \texttt{i}[\emph{i1i2...in}] assigns MIDI instrument names - \emph{i1,i2,...,in} to the staves of the respective {\PMX} - instruments. The default is harpsichord, of course. - - If you use this option, you must specify \emph{all} instruments. - Each \emph{i} is either an integer between 1 and 255 or a - 2-letter mnemonic. The instrument mnemonics allowed with {\PMX} - are listed in Table~\ref{tab:MIDIinstr}. Numbers and mnemonics - may be mixed, but consecutive pairs of numbers must be separated - by \texttt{:} (colon)\,% - \footnote{Otherwise the assignment could be ambiguous!}. - Care is needed with multi-staff instruments: there must be one - instrument name \emph{per staff}; so for a sonata for violin and - piano, e.g., the instrument names entry would be - \texttt{ipipivl}, not \texttt{ipivl} ! - \item \texttt{v}[\emph{i1}]:[\emph{i2}]:[...]:\emph{in}] assigns the - relative MIDI volume to each instrument. Each \emph{i} is an - integer between 1 and 127; the colons are required. The volume - parameter \texttt{v} must either be given with exactly as many - parameters as there are instruments, or none at all. The default - (no parameters given) is 127. - \item \texttt{b}[\emph{m1}]:[\emph{m2}]:[...]:\emph{mn}] assigns the - MIDI stereo balances to each instrument. The numbers \emph{m} - may vary between 1 and 128; otherwise their usage is similar to - that for the volume. The default value is 64, which represents - the center; smaller numbers favor the left stereo channel, - larger ones the right. - \item \texttt{p}[\emph{x}] inserts a pause of \emph{x} quarter notes - -- for all instruments! -- at the beginning of the first bar of - the input block in which the MIDI symbol appears. Decimals are - allowed, but will be rounded to the nearest sixteenth note. - \item \texttt{g}[\emph{i}] sets the MIDI gap to \emph{i} MIDI clock - tics: this is a silence inserted at the end of every note, - while decreasing the sounding duration by the same amount. The - default is 10, which corresponds to 2/3 of a 64th note. -\end{enumerate} - -_{MIDI!file players and editors} -Key signatures, time signatures (meter) and instrument names will be -written into the MIDI file, the latter as track names. This will have -no effect whatsoever on audible output, but will affect on-screen -appearance with some MIDI file players and editors. - -\medskip -The instruments given in Table~\ref{tab:MIDIinstr} are a subset of -``The General MIDI Instrument Specification''. Of course how they sound -depends on your hardware and software. Instruments not listed below can -still be used but must be specified by number -(cf.~Table~\ref{tab:MIDIspecif}). - -\newcommand{\T}[1]{\texttt{#1}} -\begin{table}[!htb] _{MIDI!instrument mnemonic names} -\begin{tabular}{ll@{\qquad}ll@{\qquad}ll} -\T{pi} & Acoustic Grand Piano & \T{vl} & Violin & \T{re} & Recorder \\ -\T{rh} & Rhodes Piano & \T{va} & Viola & \T{fl} & Flute \\ -\T{ha} & Harpsichord & \T{vc} & Cello & \T{ob} & Oboe \\ -\T{ct} & Clavinet & \T{cb} & Contrabass & \T{cl} & Clarinet \\ -\T{or} & Church Organ & \T{ab} & Acoustic Bass & \T{ba} & Bassoon \\ -\T{so} & Soprano Sax & \T{tr} & Trumpet & \T{ma} & Marimba \\ -\T{al} & Alto Sax & \T{fr} & French Horn & \T{gu} & Acoustic Nylon Guitar \\ -\T{te} & Tenor Sax & \T{tb} & Trombone & \T{vo} & Synth Voice \\ -\T{bs} & Baritone Sax & \T{tu} & Tuba & & -\end{tabular} - \caption{Mnemonics for instruments acceptable in {\PMX} } - \label{tab:MIDIinstr} -\end{table} - -\subsection{MIDI macros \protect\footnotemark} -\footnotetext{{\PMX} normally does not allow tempo changes in MIDI macros. - As of version 2.511, this restriction no longer holds; but it - is designated as ``experimental''. So if you use it, be - prepared for surprises! Naturally, Don Simons will certainly - be interested to hear of your experiments. - } - -\texttt{IM} initiates a MIDI macro operation. Although the syntax of a -{\PMX} MIDI macro is analogous to that of regular {\PMX} macros -(decribed in Section~\ref{sec:macros}), its function is different: -\begin{enumerate} - \item a MIDI macro cannot be saved (i.e.\ recorded without playing --- - there is no command \texttt{IMS[}\emph{i}\texttt{]}), - \item the code sandwiched between \texttt{IMR[}\emph{i}\texttt{]} - (``start \textbf{r}ecord \textbf{M}IDI macro'') and \texttt{IM} - (``end \textbf{M}IDI macro'') will be recorded as with a regular - macro, but - \item \texttt{IMP[}\emph{i}\texttt{]} (``\textbf{P}layback of - \textbf{M}IDI macro \emph{i}'') will \emph{not insert anything - in the written score}, it will merely replay in the MIDI output - the number of bars defined by the macro. -\end{enumerate} -MIDI macros are needed for repeats or dacapos, as the {\PMX} coding for -these features of a score merely provides the appropriate notation on -paper, nothing else. MIDI Macros must have ID numbers between 1 and 20. -Only one macro may be active at a time, recording or playing, but not -both. Never try nesting or overlapping macros! - -\subsection{MIDI only accidentals} \label{sec:MIDIaccidentals} -_{MIDI!accidentals} _{accidentals!MIDI} - -\begin{table}[!hbp] -\begin{center} _{MIDI!General Instrument Specification} - {\scriptsize - \begin{tabular}{|ll|ll|ll|} - \hline - \bfseries 1-8 & \bfseries PIANO & \bfseries 9-16 & \bfseries CHROMAT. PERC. & - \bfseries 17-24 & \bfseries ORGAN \\ - \hline - 1 & Acoustic Grand Piano & 9 & Celesta & 17 & Drawbar Organ \\ - 2 & Bright Acoustic Piano & 10 & Glockenspiel & 18 & Percussive Organ \\ - 3 & Electric Grand Piano & 11 & Music Box & 19 & Rock Organ \\ - 4 & Honky-tonk Piano & 12 & Vibraphone & 20 & Church Organ \\ - 5 & Electric Piano 1 & 13 & Marimba & 21 & Reed Organ \\ - 6 & Electric Piano 2 & 14 & Xylophone & 22 & Accordian \\ - 7 & Harpsichord & 15 & Tubular Bells & 23 & Harmonica \\ - 8 & Clavinet & 16 & Dulcimer & 24 & Tango Organ \\ - \hline - \bfseries 25-32 & \bfseries GUITAR & \bfseries 33-40 & - \bfseries BASS & \bfseries 41-48 & \bfseries STRINGS \\ - \hline - 25 & Acoustic Guitar (nylon) & 33 & Acoustic Bass & 41 & Violin \\ - 26 & Acoustic Guitar (steel) & 34 & Electric Bass (finger) & 42 & Viola \\ - 27 & Electric Guitar (jazz) & 35 & Electric Bass (pick) & 43 & Cello \\ - 28 & Electric Guitar (clean) & 36 & Fretless Bass & 44 & Contrabass \\ - 29 & Electric Guitar (muted) & 37 & Slap Bass 1 & 45 & Tremelo Strings \\ - 30 & Overdriven Guitar & 38 & Slap Bass 2 & 46 & Pizzicato Strings \\ - 31 & Distortion Guitar & 39 & Synth Bass 1 & 47 & Orchestral Strings \\ - 32 & Guitar Harmonics & 40 & Synth Bass 2 & 48 & Timpani \\ - \hline - \bfseries 49-56 & \bfseries ENSEMBLE & \bfseries 57-64 & - \bfseries BRASS & \bfseries 65-72 & \bfseries REED \\ - \hline - 49 & String Ensemble 1 & 57 & Trumpet & 65 & Soprano Sax \\ - 50 & String Ensemble 2 & 58 & Trombone & 66 & Alto Sax \\ - 51 & Synth Strings 1 & 59 & Tuba & 67 & Tenor Sax \\ - 52 & Synth Strings 2 & 60 & Muted Trumpet & 68 & Baritone Sax \\ - 53 & Choir Aahs & 61 & French Horn & 69 & Oboe \\ - 54 & Voice Oohs & 62 & Brass Section & 70 & English Horn \\ - 55 & Synth Voice & 63 & Synth Brass 1 & 71 & Bassoon \\ - 56 & Orchestra Hit & 64 & Synth Brass 2 & 72 & Clarinet \\ - \hline - \bfseries 73-80 & \bfseries PIPE & \bfseries 81-88 & - \bfseries SYNTH LEAD & \bfseries 89-96 & \bfseries SYNTH PAD \\ - \hline - 73 & Piccolo & 81 & Lead 1 (square) & 89 & Pad 1 (new age) \\ - 74 & Flute & 82 & Lead 2 (sawtooth) & 90 & Pad 2 (warm) \\ - 75 & Recorder & 82 & Lead 3 (calliope) & 91 & Pad 3 (polysynth) \\ - 76 & Pan Flute & 83 & Lead 4 (chiff) & 92 & Pad 4 (choir) \\ - 77 & Blown Bottle & 84 & Lead 5 (charang) & 93 & Pad 5 (bowed) \\ - 78 & Shakuhachi & 85 & Lead 6 (voice) & 94 & Pad 6 (metallic) \\ - 79 & Whistle & 86 & Lead 7 (fifths) & 95 & Pad 7 (halo) \\ - 80 & Ocarina & 87 & Lead 8 (bass+lead) & 96 & Pad 8 (sweep) \\ - \hline - \bfseries 97-104 & \bfseries SYNTH EFFECTS & \bfseries 105-112 & - \bfseries ETHNIC & \bfseries 113-124 & \bfseries PERCUSSIVE \\ - \hline - 97 & FX 1 (rain) & 105 & Sitar & 113 & Tinkle Bell \\ - 98 & FX 2 (soundtrack) & 106 & Banjo & 114 & Agogo \\ - 99 & FX 3 (crystal) & 107 & Shamisen & 115 & Steel Drums \\ - 100 & FX 4 (atmosphere) & 108 & Koto & 116 & Woodblock \\ - 101 & FX 5 (brightness) & 109 & Kalimba & 117 & Taiko Drum \\ - 102 & FX 6 (goblins) & 110 & Bagpipe & 118 & Melodic Drum \\ - 103 & FX 7 (echoes) & 111 & Fiddle & 119 & Synth Drum \\ - 104 & FX 8 (sci-fi) & 112 & Shanai &120 & Reverse Cymbal \\ - \hline - \bfseries 121-128 & \bfseries SOUND EFFECTS & & & & \\ - \hline - 121 & Guitar Fret Noise & & & & \\ - 122 & Breath Noise & & & & \\ - 123 & Seashore & & & & \\ - 124 & Bird Tweet & & & & \\ - 125 & Telephone Ring & & & & \\ - 126 & Helicopter & & & & \\ - 127 & Applause & & & & \\ - 128 & Gunshot & & & & \\ - \hline - \end{tabular} - } - \caption{The General MIDI Instrument Specification} - \label{tab:MIDIspecif} -\end{center} -\end{table} - -In rare cases a special notation for accidentals is needed to guarantee -that the MIDI output corresponds exactly to what is intended in the -score. Cases in point are: -\begin{description} - \item[Repeated notes with accidentals:] the generally accepted rules - of musical orthography, at least for tonal music, say that when - two identical notes with accidentals occur in the same bar (and - in the same voice, of course), only the first one is written with - an explicit accidental; for the following notes the accidentals are - implied (`inherited', in {\PMX} parlance). - - This rule is less clear when there is a bar line between two - successive notes. Some composers -- in particular in the baroque - era, where this notation is almost the default -- will assume the - first note in the new bar to have `inherited' the accidental - along with it, while others would insist on repeating the - accidental, and still others would put a cautionary accidental - over the first note of the new bar. {\PMX} takes the first - position, and MIDI files generated by {\PMX} will reflect this - attitude. - - {\PMX} users with a different attitude could thus find their - intention misrepresented in the MIDI output. - - \item[Editorial/dubious accidentals:] in editing an historical piece, - a conscientious editor will provide information about - dubious points, but she nevertheless, in creating a MIDI file, - might want to assert her own position. -\end{description} -For these and similar applications {\PMX} provides the \emph{MIDI only -accidentals}. These are written and used like normal accidentals, -except with an `\texttt{i}' added . Such accidentals are -effective \emph{only in the MIDI output}; they are disregarded in the -printed score. - -This is particularly useful when you want to override the MIDI -``baroque default'' described above. To understand the ``baroque -default'' clearly, consider the example given in -Fig.\ref{fig:MIDIbaroquedefault} , where the {\PMX} coding is given -directly below the system: - -\begin{figure}[!htb] - \begin{center} - \includegraphics[scale=.82]{eps/MIDIbaroque.eps} - \caption{The ``baroque default'', and overriding it with MIDI - only accidentals} - \label{fig:MIDIbaroquedefault} - \end{center} -\end{figure} -\noindent -Now compare the printed score with the MIDI version -- provided -\href{http://www.itp.uni-bremen.de/~noack/MIDI.mid}{here} for your -convenience --, and you can hear the differences explicitly\,% -\footnote{It is also instructive to note the MIDI implementation of - slurs and ties generated by {\PMX} here (Cf.\ the list of MIDI - restrictions on p.\pageref{p:midi}). - }. - -\medskip -Another example for the use of MIDI only accidentals is given in -Fig.\ref{fig:MIDIaccidentals}: -\begin{figure}[!htb] - \begin{center} - \includegraphics[scale=.82]{eps/MIDI.eps} - \end{center} - \caption{Further use of MIDI only accidentals} - \label{fig:MIDIaccidentals} -\end{figure} -\begin{itemize} - \item MIDI plays the first $C$ in bar 2 as a $C\sharp$. The editorial - $\natural$ over the second $C$, however, suggests that - $C\natural$ was intended (at least from here on), so the MIDI - accidental \texttt{in} is appended to that $C$, - \item the final $F$ (in bar 5) suggested to the editor that we are - moving towards F major here, and thus the $B$ in bar 3 should - actually have been a $B\flat$. By bar 4 the assumption is - confirmed, and so he changes the `dubious' accidental to an - editorial one, and the MIDI only accidental \texttt{fi} is appended - to that $B$. -\end{itemize} - -\section{Lyrics} \label{sec:lyrics} -_{\texttt{musixlyr.tex}} _{\textbf{musixlyr}} -_{lyrics|see{\textbf{musixlyr}}} - -{\PMX} has no special provisions for lyrics. One way to include them is -by using the macro package \texttt{musixlyr.tex} developed by Rainer -Dunker. It introduces lyrics into {\TeX} more easily than with -{\MusiXTeX}'s own facilities. The macros could be entered as inline -{\TeX} directly into the \texttt{.pmx} file, but most would prefer the -convenient interface to \textbf{musixlyr} via the program {\MTX} -developed by Dirk Laurie (cf.~Section~\ref{sec:MTX}). -_{\MTX} _{Laurie, Dirk} _{Dunker, Rainer} - -_{accented letters in lyrics} - -If you have foreign-language lyrics, you may run into the problem of -accented letters. Straight {\TeX} does not provide these directly, as -the modern font encoding schemes used by {\LaTeX} do. -_{Vogel, Olivier} -However, Olivier Vogel has developped a method with which to use these -encoding schemes with {\MTX}/{PMX}/{\MusiXTeX}. For details you should -look at his contribution on this in the -\href{http://icking-music-archive.org/software/pmxtricks/tricks.html}% - {Tricks and Tricks} -section in the WIMA, or contact Olivier directly: \quad -\raisebox{-0.8ex}{\includegraphics[scale=0.6]{addresses/ovogel} } - -\section{{\PMX} and {\LaTeX} } \label{sec:LaTeX} -_{\LaTeX} - -{\LaTeX} (``A Document Preparation System''), although written for a -very different purpose, has a lot in common with -{\PMX}: it is a (huge) set of {\TeX} macros that allows to solve -complicated layout problems without the need to dive into the -- -sometimes arcane -- depths of {\TeX} itself. So {\LaTeX} simplifies the -use of {\TeX} for the non-{\TeX}pert in much the same way that {\PMX} -does for {\MusiXTeX}. - -\medskip -So it would certainly be wonderful to have the best of two worlds: merge -{\LaTeX} and {\PMX}. The problems with that (or merging {\LaTeX} and -{\MusiXTeX}, for that matter) are threefold: -\begin{enumerate} - \item {\PMX} deals with many of the layout aspects of a musical score - on its own (such as width of systems, line breaks, page breaks - etc.), and with techniques that are not really compatible with - those of {\LaTeX}. - \item {\MusiXTeX} / {\PMX} and {\LaTeX} make heavy use of - {\TeX}'s ressources, both in memory and registers, and together - they may strain these ressources beyond their usual limit. - \item both {\MusiXTeX} / {\PMX} and {\LaTeX} use many special - command definitions, often enough incompatible with one another. -\end{enumerate} - -While with modern implementations of ressources are no longer a serious -problem, the incompatibility problems are, and their resolution would be -a major programming task. So there have, to this day, not been any -serious efforts to provide a truly merged version of {\LaTeX} with -{\PMX}. - -\bigskip -There are, however, several methods to use {\LaTeX} and {\PMX} in -(partial) ``coexistence'': -\begin{enumerate} - \item _{\LaTeX!with short musical scores} _{short scores} - The best way to include short scores, of less than one printed - page, in a {\LaTeX} document is to - \begin{enumerate} - \item _{PostScript} - produce the musical score with {\PMX} -- {\MusiXTeX} - -- \textbf{dvips} in the way described in this tutorial. - The end product is a PostScript file, - \item _{encapsulated PostScript file} - _{\texttt{.eps} file|see{encapsulated PostScript file}} - make an \texttt{.eps} (``encapsulated PostScript'')\,% - \footnote{In general, this is possible for - single-page PostScript files only. - } - file from the \texttt{.ps} with one of the standard - tools, e.g.~\textbf{ghostview}, - \item include this \texttt{.eps} file in the {\LaTeX} - document with the {\LaTeX} \bs\texttt{includegraphics} - command, e.g. \\[-1ex] - \hspace*{\fill}\verb#\includegraphics[scale=0.58]{sample.eps}# - \hspace*{\fill} . - \end{enumerate} - This is the method with which the present tutorial was produced. - \item _{\textbf{musixltx}} _{\LaTeX!\textbf{musixltx}} - use the {\LaTeX} package \textbf{musixltx}, together with - {\MusiXTeX}\,% - \footnote{\textbf{musixltx} is part of the standard - distribution of the {\MusiXTeX}~\texttt{1.15} package. - }. - The {\MusiXTeX} code is then sandwiched between the start and - end of a specific environment: - \begin{center} \vspace*{-2ex} - \verb#\begin{music}# \dots \verb#\end{music}# . - \end{center}\noindent - For more detail on this method see the - {\MusiXTeX} manual by Daniel Taupin. _{Taupin, - Daniel} - - \medskip - But be aware of the fact that the \texttt{.tex} files produced - by {\PMX} contain a number of incompatibilities with {\LaTeX}. - So if you want to use the \textbf{musixltx} package together - with {\PMX}, you may have to comment out a few lines in the - \texttt{.tex} file --- by hand, unfortunately. For that reason, - the \textbf{musixltx} package usually works well with {\PMX} - only in rather simple cases. An example of how to proceed can - be found in the WIMA: \\ - \hspace*{\fill} - \href{http://icking-music-archive.org% - /software/musixtex/add-ons/pmx-l2e.tex}% - {\texttt{http://icking-music-archive.org/% - /software/musixtex/add-ons/pmx-l2e.tex}} - \hspace*{\fill} \\ - \item _{\LaTeX!\textbf{mtxlatex}} _{\LaTeX!e\TeX} - _{\LaTeX!interface with \PMX} _{Laurie, Dirk} _{\MTX} - Dirk Laurie, the author of {\MTX}, has developped a - {\LaTeX} package, \textbf{mtxlatex}. It is is part of the - \href{http://icking-music-archive.org/software/mtx/mtx060.pdf}% - {{\MTX} 0.60b distribution}, available from the WIMA, and can be - considered a successor to the \textbf{musixltx} package - described above. An outstanding feature of this package is that - it interfaces quite well with {\PMX}; so this is usually the - method of choice in cases where you want to include longer - music scores in a long text such as a book. Detailed - instructions on how to use this package are contained in the - {\MTX} manual. - - When - using \textbf{mtxlatex}, be sure to - include the \textbf{mtxlatex} package as the - \emph{first} package in the {\LaTeX} source file. -\end{enumerate} - -%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% -% PMX tutorial by ccn / chapter D starts here: -%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% -\chapter{Limitations, error messages, and bugs} -\section{Limitations} \label{sec:limits} -_{limitations} - -For simplicity in writing the program, {\PMX} has numerous variables -with fixed dimensions. In most cases there are no checks against these -limits, so occasionally there may be hangups due to exceeding a -dimension. - -\medskip -The limits of the variables given in Tables~\ref{tab:softlimits} and -\ref{tab:hardlimits} fall in two distinct classes, named ``soft'' and -``hard'' limits to distinguish them: -\begin{enumerate} - \item soft limits can be increased fairly easily: all it takes (sic!) - is to change the dimensions in the FORTRAN source of - _{\texttt{pmxab.exe}} \texttt{pmxab.exe} (the {\PMX} program) - accordingly, and recompile, - \item hard limits, on the other hand, could only be increased with - more or less elaborate reprogramming - \footnote{Often these hard limits are a consequence of - features of {\MusiXTeX} and thus cannot be changed - without changes in {\MusiXTeX}. - - Note, however, that this character count - \emph{includes all empty spaces before the final - character} (such as \texttt{/}) at the end of an - input line. If -- for better readability, e.g.\ -- - you are in the habit of aligning these end-of line - characters, being more stingy on the resulting blanc - characters often helps to stay within the limit. - } - (or at least recompiling the source code), so for all practical - purposes they are unchangeable. - -\end{enumerate} -In both cases, however, it will usually be possible to work within -existing limits by breaking the input into smaller blocks. Consider that -solution before asking Don Simons for changes to the {\PMX} source code, -or attempting such changes yourself! _{Simons, Don} - -\begin{table}[!htb] -\begin{center} -_{limitations!soft limits} -\begin{tabular}{l@{\quad:\quad}r} -characters per input line & 128 \\ -staves & 24 \\ -voices per staff & 2 \\ -voices per system & 24 \\ -systems & 125 \\ -bars & 600 \\ -forced line breaks & 40 \\ -forced page breaks & 10 \\ -key changes & 18 \\ -pages & 20 \\ -notes per input block & 600 \\ -bars per input block & 15 \\ -slurs per input block & 101 \\ -figures (figured bass) per input block & 74 \\ -grace note groups per input block & 37 \\ -notes in grace note groups per input block & 74 \\ -inline {\TeX} strings per input block & 52 \\ -volte per input block & 6 \\ -trills per input block & 24 \\ -chordal notes (non-spacing) per input block & 62 \\ -beams per voice per bar & 8 \\ -forced beams per voice per input block & 40 \\ -clef changes per voice per input block & 10 \\ -notes per beam & 24 \\ -notes per xtuplet & 24 \\[-3ex] -\end{tabular} -\end{center} - \caption{Numerical limits of {\PMX} variables (soft limits)} - \label{tab:softlimits} -\end{table} - -\vfill -\begin{table}[!htbp] - -\noindent -------------------------------------------------- -\begin{center} -_{limitations!hard limits} -\begin{tabular}{l@{\quad:\quad}r} -total number of characters in source file & 65~536 ($2^{16}$) \\ -\bs{\tt notes} groups (total) & 2000 \\ -\bs{\tt notes} groups per bar & 20 \\ -inserted standard anti-collision spaces - (not xtuplet or end-of-bar) per bar & 20 \\ -inserted anti-collision spaces within xtuplets per bar & 20 \\ -inserted anti-collision end-of-bar hardspaces per system & 19 \\ -inserted anti-collision end-of-bar hardspaces (total) & 83 \\ -inserted standard anti-collision spaces per system & 400 \\ -inserted anti-collision spaces within xtuplets per system & 100 \\ -inserted standard anti-collision spaces & 1000 \\ -inserted anti-collision spaces within xtuplets & 200 \\ -bytes of MIDI output data per line of music & 24576 -\\[-3ex] \end{tabular} \end{center} \caption{Numerical limits of {\PMX} -variables (hard limits)} \label{tab:hardlimits} \end{table} - -\section{{\PMX}'s error messages} \label{sec:errormsg} -_{error messages} - -When run on, say, \verb#my_opus.pmx#, {\PMX} will always generate two -files in the working directory, \verb#my_opus.pml# and -_{\texttt{pmxaerr.dat}} \texttt{pmxaerr.dat}. \verb#my_opus.pml# is a -log file, and \verb#pmxaerr.dat# contains a single integer: 0 if the run -was successful, otherwise the line number in the source file -\verb#my_opus.pmx# of the fatal error (useful for batch processing). -Also, on successful completion, \verb#my_opus..tex# will be placed in -the path specified in the preamble. - -\medskip -Usually, when there is an error, {\PMX} will give you a pretty good -explanation\,% -\footnote{Note that sometimes an error message will use a name for a - preamble numerical parameter that differs from that used in - this tutorial --- but it usually is easily recognized. - \label{p:errormsg} - }. -There are some cases, however, in which the error message will be issued -not by {\PMX}, but by the FORTRAN compiler directly, and it may look -very cryptic to you. An infamous example is: -\begin{center} \vspace*{-1ex} \begin{verbatim} - forrtl: severe (24): end-of-file during read, unit 10 -\end{verbatim} \vspace*{-1ex} \end{center} -Such messages are almost always caused by an extra line in your source -file that shouldn't be there, so experiment with deleting lines towards -the end of your file! - -\section{Bugs} -_{bugs} - -As was mentioned before, {\PMX} is continuously maintained and improved -by Don Simons, and there is a very active group of {\PMX} users. Thus -there is no serious bug known (as of Version 2.514) that hasn't been -fixed. _{Simons, Don} - -\medskip -If you think you have discovered a new bug, don't hesitate to send a -message to the TeX-music users' list: - \raisebox{-1.0ex}{% - \includegraphics[scale=0.72]{addresses/texmusiclist} - }$\!\!$% -\footnote{Almost all reported ``bugs'' turn out to be misunderstandings. - So if you state politely that you \emph{think} you may have - found a bug, and ask for help, you will avoid irate replies of - the ``RTFM'' species. - }. -The same is true if you have a problem with {\PMX} that you simply cannot -solve by yourself, even though you suspect that it's \emph{not} a bug: -don't hesitate to ask! - -\subsection{A Benign Bug} \label{sec:bug} -When {\TeX}ing the output of {\PMX} you will usually get an -\texttt{Underfull \bs vbox} message at the end of each page. This is -due to {\PMX} inserting \verb#\eject# at the end of every page, which -automatically spaces the systems vertically without having to fiddle -with \verb#\staffbotmarg#. As far as is known, the warning is benign, -and may be ignored. - -\vfill -\vspace*{\fill} -%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% -% PMX tutorial by ccn / chapter E starts here: -%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% -\chapter{Tricks of the Trade} \label{sec:tricks} - -\section{Simple tricks} - -\subsection{Special coding in L'Incoronazione di Poppea} -_{figured bass!continuation} - -Bar 17 in Fig.~\ref{fig:poppea} requires an explanation: the -continuation figure appears under the \verb#5#, but the these two -figures are coded as \verb#x145 x12\_00.2# . Why not \verb#x14500.2# , -giving them both the same horizontal offset? That is because the -continuation figure always starts 0.3 \verb#\noteskip#s to the -\emph{left} of the associated note's position. This works well in most -normal situations. But here \verb#\noteskip# is large,based on the -dotted half, while the desired length is short, so in fact the left -offset of the starting point is even larger than the desired length. -Consequently the entry point of the continuation figure has to be offset -by a half note to make it appear offset by a quarter note. - -\subsection{Text after final system} - _{text!after final system} -Suppose you want to add some text, Or any other {\TeX} material, -after the final system of a score. How can you include that in the -{\PMX} file?\,% -\footnote{This question was posted to the {\TeX}-music list by Herrmann - Hinsch. _{Hinsch, Herrmann} - } - -The answer, given by Christian Mondrup, is instructive: -\begin{enumerate} _{Mondrup, Christian} - \item Write the text to a separate file, say - \verb#Myendnotes.tex# , - \item Insert - \begin{center}\begin{verbatim} - \let\Endpiecesav\Endpiece - \def\Endpiece{\Endpiecesav\input Myendnotes} - \end{verbatim}\end{center} -\end{enumerate} -in the header of the {\PMX} source file, i.e.\ as a Type 4 inline {\TeX} -command (cf.\ Sec.~\ref{sec:inlinetypefour}). You can see that the -redefinition of {\TeX} commands, if done carefully, can be a rather -powerful tool. - -\medskip _{\LaTeX!interface with \PMX} _{\textbf{mtxlatex}} -Another solution to this problem is to use the {\LaTeX}/{\PMX} -interface \textbf{mtxlatex} (cf.~\ref{sec:LaTeX}); this may be -simpler in cases involving more complicated layout. - -\subsection{Clef octaviation} \label{sec:clefoctaviation} -_{octaviation} - -As was noted in Section~\ref{sec:octaviation}, {\PMX} does not -presently provide a notation for octaviation; but native {\MusiXTeX} -does; cf.~the {\MusiXTeX}~\texttt{1.15} manual, Sec.~2.11 for details. - -\medskip -Consider, for example, bar 155 of the $2^\text{nd}$ movement of -Beethovens piana sonata op.\ 111 : - -\begin{center} -\includegraphics[scale=.82]{eps/beethoven0.eps} \\[2ex] - ------------------------------------------ -\begin{minipage}{360pt} -\small -\begin{verbatim} -\\interstaff{13}\ -w170m -Abepl -% -[ e83d ze+ e8- ze+ sl c1- zc+ sl ] c8d-l zc+ | Rb / -[l c15x3n g+ c b1-x3n g+ b c1-x3n g+ c ] -[l gs1x3n b gs+ g1-x3n b e a1-x3n e+ a ] -[l a-1x3n e+ a g1-x3n e+ g a1-x3n e+ a ] | / -% -\end{verbatim} -\end{minipage} -\end{center} -In most editions, you will find the figures in the right hand in the -second and third three beats written in octaviation notation: -\begin{center} -\includegraphics[scale=.82]{eps/beethoven1.eps} \\[2ex] -\end{center} -which is clearly easier to read. This octaviated version was produced by -the following {\PMX} code: -\begin{center} -\begin{minipage}{360pt} -\small -\begin{verbatim} -\\interstaff{13}\ -w170m -Abepl -\\def\octnumber{8$^{va}$}\ -% -[ e83d ze+ e8- ze+ sfu c1- zc+ sfu ] c8d-l zc+ | Rb / -[l c15x3n g+ c b1-x3n g+ b c1-x3n g+ c ] -\Ioctfinup1d\ [l g-s1x3n b gs+ g1-x3n b e a1-x3n e+ a ] -[l a-1x3n e+ a g1-x3n e+ g a1-x3n e+ a ] \toctfin1\ | / -% -\end{verbatim} -\end{minipage} -\end{center} - -The octaviation is started with the Type 1 inline {\TeX} symbol -\verb#\Ioctfinup1d\# and ended with \verb#\toctfin1\# ; the -transposition downward is, of course, generated in the standard {\PMX} -way by writing \verb#g-s1x3n# instead of \verb#gs1x3n# . By default, -{\MusiXTeX} will start the octaviation symbol with a simple \texttt{8}; -this is changed to 8$^{va}$ by the Type 2 inline {\TeX} symbol given in -the preamble. - -\medskip -\Note{When using this octaviation notation in a score, do not try to - produce a MIDI file for that score: it will come out faulty - } - -\section{More tricks} -The above examples are actually rather simple cases of the use of inline -{\TeX}, not really ``tricks''~; they have been included here for you to -`warm up' to doing such things yourself. But there are many -further-reaching tricks to overcome shortcomings of {\PMX} --- -some truly ingenious. Here are a few of general interest: - -\subsection{Changing vertical positioning of instrument name} -\label{sec:shiftname} _{\textbf{scor2prt}!use of Ti} -_{\textbf{scor2prt}!adjusting instrument name} - -When making parts from a score with \textbf{scor2prt}, you will -sometimes find the adjustment of the vertical position of the instrument -name not to your liking. In particular, if you have a tempo indicated in -a line of text above the first system (e.g.~``allegro''), you may find -that the instrument name of some (but not all) parts collides with the -tempo indication. How can you fix that? - -\medskip _{\textbf{scor2prt}!usage} _{Van Ryckeghem, Andre} - _{instruments!names} _{comments!usage with \textbf{scor2prt}} -A practical solution of this problem has been given recently by Andre -Van Ryckeghem. It is quite instructive to see in this example how -the mechanism of handing over commands to \textbf{scor2prt} operates: - -Suppose that you are writing a string quartet, and the relevant part of -the preamble and header in the score are: -\begin{small}\begin{verbatim} -... -Violoncello -Viola -Violine II -Violin I -batt -./ -h -Allegro -Abpl -... -\end{verbatim}\end{small} - -After running \textbf{scor2prt}, you find that the allegro command is -positioned the way you want it, but the cello name collides fully, and -the Violino II slightly, with the ``allegro''. Therefore you want to -raise the cello by \texttt{3ex}, the Violin II by \texttt{1.5ex} . To do -so, replace the above part of the preamble and header in the score by -\begin{small}\begin{verbatim} - ... - %% Violoncello - %1 \raise+3ex \hbox{Violoncello} - Viola - %% - Violin II - %3 \raise+1.5ex \hbox{Violin II} - Violin I - batt - ./ - h - Allegro - Abpl - ... -\end{verbatim}\end{small} -All the comment lines are disregarded in compiling the score; but in the -\texttt{.pmx} file for the cello, you will find -\begin{small}\begin{verbatim} - Ti - \raise+3ex \hbox{Violoncello} - b - ./ - h - Allegro - Abpl - ... -\end{verbatim} -and in the part for the second Violin -\begin{verbatim} - Ti - \raise+1.5ex \hbox{Violin II} - t - ./ - h - Allegro - Abpl - ... -\end{verbatim}\end{small} -which does what you want. - -\vspace*{3cm} -\subsection{Xtuplets ending with a rest} - \label{sec:Xtuplets ending with a rest} - _{xtuplets!ending with a rest} - - As was pointed out in Section~\ref{sec:xtuplets}, \PMX\ does not - allow a rest as the last note in an xtuplet. - - \medskip - Can one find a way to circumvent this restriction? A pedestrian, - awkward way around might be this: remembering that \PMX\ is a - preprocessor for MusiXTeX, and in a second pass \TeX\ processes the - \PMX\ output, one could simply enter some arbitrary note in place of - the desired rest, run \PMX\ , and then in the resulting \TeX\ file - replace the arbitrary note \emph{manually} by the appropriate - {\MusiXTeX} rest symbol \emph{before} running the file through \TeX\ - for the the 2nd pass. - - This semi-solution however, has two major drawbacks: - \begin{enumerate} - \item it takes a certain amount of aquaintance with basic MusiXTeX, - so this is not for everyone; - \item more dangerously, this hack goes away if and when you - rerun \PMX\ ! So if you are still in the middle of a - development, you may find yourself redoing the hack over and - over, which could quickly become a real nuisance. - \end{enumerate} - - Luckily, for xtuplets with stand-alone notes there now exists a real - solution: an ingenious, generally usable inline {\TeX} method -- - developped by Don Simons -- solves the problem completely for - unbeamed xtuplets. Here is a simple example with two such triplets: - \begin{center} - \includegraphics[scale=.82]{eps/triplerest.eps} \end{center} - \newpage And this is the \PMX\ source text that creates these staves: - ------------------------------------- -\begin{verbatim} -2 2 -2 4 0 0 -0 0 -0 3 20 0.12 - - -tt -./ -w100m -\\def\qpforqu{\let\qut\qu\def\qu##1{\qp\zcharnote{##1}{~}\let\qu\qut}}\ -\\def\dsforcu{\let\cut\cu\def\cu##1{\ds\zcharnote{##1}{~}\let\cu\cut}}\ - -e4ax3 \dsforcu\ e \dsforcu\ e e4ax3 \qpforqu\ eD / -e4ax3 e e e4ax3 eD / -\end{verbatim} ------------------------------------- - -As you can see, there are two inline commands of type 2, which are -therefore effective throughout the file (from where they are first -entered), then followed by two standard \PMX\ lines; the lower one (the -top staff) of these has the standard triplets, as demonstration, while -the upper one (bottom staff) shows the corresponding triplets with ending -rests. - -The two inline \TeX\ commands produce the type of rest: \verb#\dsforcu# -stands for a quarter rest, and \verb#\qpforqu# for a half rest. Note -that these inline \TeX\ commands not only provide the correct graphics, -but \PMX\ considers them to have the corresponding duration values! So -if you use wrong ones, \PMX\ will complain in the usual way. - -\medskip -Explaining the inline {\TeX} commands in detail would go beyond the -scope of this tutorial. But if you know some of the MusiXTeX -terminology, you will recognize that these commands conform to the -MusiXTeX names for quarter and half notes etc.\,% -\footnote{This knowledge may be useful if you want to produce more - complicated xtuplets with ending rests than the simple - examples given here. The new {\MusiXTeX}~\texttt{1.15} manual - may be helpful in such cases. If that doesn't help: consult a - {\MusiXTeX}pert! - } - -The inline commands are then each followed by a dummy note. Usually it -is a good (and safe) habit to use the same note name as the last real -note in the xtuplet; but any {\PMX} note name is valid; variations can -produce surprising, but possibly useful grahical results. So if you feel -up to it, you can play with such variations! - -\subsection{Shorthand notation for consecutive quavers} - _{Van Ryckeghem, Andre} _{shorthand!for quavers} _{eighths} - _{quavers|see{eighths}} - _{shorthand!for quavers|see also tremolo} - Often, in accompanying voices, in particular, there are several - repeated quavers (eighth notes), e.g.~4 quavers to a half note. There - is a commonly used shorthand notation for this that helps - sight-reading enormously: a half-note, with a line through its stem, - indicating the quavers. - - Fig.~\ref{fig:JChrBach} shows the beginning of the cello part of a - Joh.\ Chr.\ Bach quartet. In this example an inline {\MusiXTeX} macro - (devised by Andre Van Ryckeghem) provides this shorthand. - -\begin{figure}[!htb] - \begin{center} -\includegraphics[scale=.82]{eps/JChrBach.eps} \\[2ex] - ------------------------------------------ -\begin{minipage}{380pt} -\small -\begin{verbatim} -%----------------% -% -% JCBach.pmx -% -%----------------% -% ---- -\let\husav\hu\ -\let\hlsav\hl\ -\def\FE{\def\hl##1{\let\hu\husav\let\hl\hlsav% - \relax{\advance\transpose2\loffset{0.5}% - {\ibl0{##1}9}\roffset{0.5}{\tbl0}}\ha{##1}}% - \def\hu##1{\let\hu\husav\let\hl\hlsav% - \relax{\advance\transpose-3\loffset{0.5}% - {\ibu0{##1}9}\roffset{0.5}{\tbu0}}\ha{##1}}% - } ---- -% -1 1 4 4 0 6 1.00 -2 -0 8 16 0.1 -% -Violoncello -b -./ -Abpl -r4 | b83 Dmf b b b \FE\ b2 | \FE\ a2 a8 a b b | -\FE\ e2- e8 e f f | \FE\ b2- Dp \FE\ b2 | -\FE\ b2 \FE\ b2 | \FE\ b2 Df b8 [ b Dp b b ] | -\FE\ b2 \FE\ b2 Rd / -\end{verbatim} -\end{minipage} - \end{center} - \caption{\textbf{J.Chr.\ Bach}, Quartet in B Major - (beginning of cello voice)} - \label{fig:JChrBach} -\end{figure} - - \medskip _{semiquavers|see{sixteenths}} _{sixteenths} - _{shorthand!for semiquavers} - If you want such a shorthand for semiquavers (sixteenth notes), you - need to consult the {\MusiXTeX}~\texttt{1.15} manual: you will find - that all you need to do is to replace \bs\texttt{ibl0} and - \bs\texttt{ibl0} by \bs\texttt{ibbl0} and \bs\texttt{ibbl0} , resp. - - -\subsection{Varying the stave sizes} \label{sec:varstaves} -_{figured bass!varying staves sizes} _{\texttt{curly.tex}} -_{staves!varying size} - -In modern editions of works with basso continuo e.g., the implementation -of the bass, as suggested by the editor, is often given in a staff using -a smaller size. {\MusiXTeX} does not support such a possibility. - -\medskip _{Molekwa, Mthimkhulu} -Fortunately, Mthimkhulu Molekwa has written two macros that provide -alternative solutions of this problem that are often sufficient. The -first, \verb#musixbar.tex#, which is included in {\MusiXTeX}, -allows you to easily define a set of staves (the two bottom ones, in the -case of a basso continuo) that have common bar lines joining these -staves \emph{and only these}\,% -\footnote{Normally, {\MusiXTeX} will draw common bar lines for - \emph{all} staves or for \emph{none}. - }. - -\medskip -The second macro, named \verb#curly.tex#\,% -\footnote{\texttt{curly.tex}, if not included in your - {\MusiXTeX} installation, is available in the ``add-ons'' - software section of the WIMA. - }, -provides a brace as an accolade of a set of staves\,% to be grouped -to\-gether\,% -\footnote{{\MusiXTeX} provides only the choir-type square accolades. For - the practical usage of \texttt{curly.tex} see the Caccini - example in the appendix, Fig.~\ref{fig:caccini}. - }. - -\medskip -Suppose we want to set a sonata for violin and basso continuo with -{\PMX}. There will be three staves: at the bottom the basso continuo -proper, then immediately above it, and grouped together with a brace -accolade (in a smaller size), its implementation, and above these the -violin staff. - -To get this, do the following: - -\begin{itemize} - \item indicate in the preamble the number of instruments, - \emph{three} in this case! - \item add a Type 4) {\TeX} inline command at the beginning of - the file, invoking the macros - \verb#musixbar.tex# and \verb#curly.tex#, e.g.\,% -\footnote{The {\MusiXTeX} command - \texttt{$\backslash$sepbarrules$\backslash$} sets the vertical - bar to be discontinous, i.e.\ \emph{not} extend across - different staves. - } - - \vspace*{-2ex} - {\small - \begin{verbatim} - --- - \let\:=\relax\input musixtex\:\sepbarrules\input pmx - \input musixbar\input curly - --- - \end{verbatim} - } - - \vspace*{-5ex} - \item insert the following {\TeX} inline commands in the header of - the {\PMX} input file: - - {\small - \begin{verbatim} - \\\indivbarrules\sepbarrule3\ - \\setsize2\smallvalue\curlybrackets{{1}{2}}\ - \\let\interstaffsav\interstaff\def\interstaff#1{}\interstaffsav{9}\ - \end{verbatim} - } - - - \vspace*{-3ex} - The command \verb#\interstaffsav{9}\# determines the extension - of the brace (and can be adjusted). The command - \verb#\\\indivbarrules\sepbarrule3\# says that the third staff, - that for the violin, has its own discontinuous bar line, not - joined with the other two. - - The second line contains two commands: - \verb#\\setsize2\smallvalue# sets the size of staff 2 to be - smaller, and \verb#\curlybrackets{{1}{2}}\# says which staves - are to be accoladed, i.e.\ joined by the brace. -\end{itemize} -The file \verb#curly.tex# must, of course, be in a directory where -{\PMX} and {\TeX} can find it, viz.\ either in the current directory or -in one in which the other {\MusiXTeX} files are stored. - -\subsection{Stuff in front of the clefs of the first system} - _{inline \TeX!special trick} _{Vogel, Olivier} - _{\textbf{musixlyr}} _{\MusiXTeX!\bs\texttt{setclefsymbol}} -And finally, to show you what is possible, here is a special example of -using inline {\TeX}: it was contributed to the {\MusiXTeX} users' list -by Olivier Vogel. Here is the literal text of his contribution, -with the result shown in Fig.~\ref{fig:bruckner}: - -\medskip -\begin{center}\begin{minipage}{380pt} -Dear all, - -\medskip\noindent -I've got a score of ``\emph{Locus iste}'' by Bruckner, which begins with -the indication of the range of voices. I tried to reproduce the result, -and share with you my solution, since it seems to me to be an -interesting trick. -\begin{small}\begin{verbatim} ---- -\input musixtex -\input musixlyr -\setlyrics{soprano}{% -Lo-cus i-ste a De-o fa-ctus est lo-cus i-ste a De-o % -fa-ctus est, a De-o, De-o fa-ctus est in-ae-sti-ma-bi-le} -\copylyrics{soprano}{alto} -\copylyrics{soprano}{tenor} -\copylyrics{soprano}{basse} ---- -4 4 4 4 0 6 0 0 1 2 20 0.04 - -bttt -./ -B -Abd -h180m -%1-2 -\\staffbotmarg3\Interligne\ -\\setclefsymbol{2}{\treblelowoct}\ -\\groupbottom{1}{1}\grouptop{1}{4}\ -\\sepbarrules\ -\\startmuflex\indent\hskip-\parindent\hbox{\vbox{\hsize=\parindent\ -\\setclefsymbol{1}{\empty}\setclefsymbol{2}{\empty}\ -\\setclefsymbol{3}{\empty}\setclefsymbol{4}{\empty}\ -\\grouptop{1}{0}\nostartrule\generalmeter{}\parindent=0pt\ -\\startpiece\hardspace{2pt}\notes\zq{F}\nq{''C}&\zq{c}\nq{'e}&\ -\\zq{N}\nq{'b}&\zq{b}\nq{'g}\en\zstoppiece}}\ -\\\assignlyrics{1}{basse}\assignlyrics{2}{tenor}\ -\\\assignlyrics{3}{alto}\assignlyrics{4}{soprano}\ -... -\end{verbatim}\end{small} -(The regular {\PMX} encoding of the music follows). -\end{minipage}\end{center} - -\begin{figure}[!htb] - \begin{center} -\includegraphics[scale=.82]{eps/bruckner.eps} \\[2ex] - \end{center} - \caption{\textbf{A.\ Bruckner}, \emph{Locus iste} } - \label{fig:bruckner} -\end{figure} - -\pagebreak - -\vspace*{10ex} -If you encounter a tricky {\PMX} problem that you think is of general -interest, so that it may have been solved by someone else already, -a good place to search is the -\href{http://icking-music-archive.org/software/pmxtricks/tricks.html}% - { {\PMX} `Tips and Tricks'} section of the WIMA. - -\medskip -And if you have found a nice trick yourself, don't hesitate to -share it via the TeX-music users' list. Perhaps it can be included in -`Tips and Tricks' ! - -%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% -% PMX tutorial by ccn / chapter F starts here: -%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% -\chapter{An Extension of {\PMX}: {\MTX}} \label{sec:MTX} -_{\MTX} _{Laurie, Dirk} - -Although {\PMX} is already vastly simpler to use than {\MusiXTeX}, -anything can be improved. So Dirk Laurie -_{Laurie, Dirk} -set out to simplify {\PMX} even further, and thus created {\MTX}. - -\medskip -{\MTX} is actually a preprocessor to {\PMX}. Its input is a file with -extension \verb#.mtx# , for example ~\verb#mymadrigal.mtx# , its output -has the extension \verb#.pmx# , \verb#mymadrigal.pmx#. Its input -language is similar, but not identical, to that of {\PMX} and includes -most of the functionality of {\PMX} as a subset. - -\medskip _{\textbf{musixlyr}} -The major purpose of {\MTX} is to facilitate the introduction of lyrics -in a musical score of a song, cantata or opera. {\MTX} does this in -conjunction with the \textbf{musixlyr} package by Rainer Dunker; so if -you want to use {\MTX}, you ought to have \textbf{musixlyr} installed as -well. _{Dunker, Rainer} - -\bigskip _{Laurie, Dirk} -Laurie's Work on {\MTX} had essentially been ended in November 1998 with -the `final' version 0.52. But, as many such projects, {\MTX} continued -to evolve; presently, the `official' version is 0,60, dated March 2005, -and the current patch is 0.60c , dated 22 November 2007 ! - -\bigskip -Since there is a full -\href{http://icking-music-archive.org/software/mtx/mtx060.pdf}% - {manual on {\MTX}} -available in WIMA, these few remarks may suffice here. - -%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% -% PMX tutorial by ccn / Appendix starts here: -%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% -% \renewcommand{\thechapter}{} - -\chapter{Appendix: Examples} \label{sec:examples} - -\section{Dons Example Files} \label{sec:donsexamples} - -The `official' distribution files for {\PMX}, -which are available from WIMA -\href{http://icking-music-archive.org/software/pmx/pmx2514.zip}% - {[(pmx2514.zip)]}, -, contain 3 instructive examples (not reproduced here): - -\begin{description} - \item[\texttt{most.pmx}] contains examples of most - of the {\PMX} commands, and a few programming tricks, including - examples in the last line of beam groups whose notes vary - widely in pitch. The printed output displays the {\PMX} - commands near to the resulting typeset characters. It is more - useful to look at the printed output rather than the source - file, since the file is littered with Inline \TeX ~needed to - output the text strings representing the {\PMX} commands. - \textbf{WARNING:} Do not try to play this music; it could be - hazardous. - \item[\texttt{barsant.pmx}] - _{\PMX!options!global} _{S symbol@\texttt{S} symbol} - contains the first movement of a recorder sonata by the Italian - Francesco Barsanti (1690-1772). It demonstrates many of - {\PMX}'s strong points in a `battlefield situation': figured - bass, complex beaming patterns, xtuplets, and automatically - adjusted horizontal and vertical spacing in crowded scores. In - fact, this single-page score is at the limit of vertical - crowding. It uses the global option \texttt{Ae} for equal space - betweem systems. The space between systems was increased (using - the option \texttt{AI1.1}) to give a more pleasing appearance. - This is a good score to try making parts with - \textbf{scor2prt}. The special command \texttt{\%2S9} is used - to increase the number of systems in the recorder part (as - explained in Section \ref{sec:Ssymbol}). - - \item[\texttt{mwalmnd.pmx}] is an Allemand for harpsichord by the - German Matthias Weckmann (1616-1674). It uses many techniques - peculiar to keyboard scores. -\end{description} - - -\section{Full-score examples} \label{sec:fullexamples} - -_{Cataldi, Luigi} -In this appendix you will find the {\PMX} code (by Luigi Cataldi) of -a full piece, together with the actual score which was generated from it -(Section~\ref{sec:Dufay}), as well as two extended {\MTX} examples (also -coded by Luigi Cataldi). - -\medskip -The {\PMX} code for the Dufay Kyrie contains a few inline {\TeX} -commands; this is done intentionally so you again can get a feel of the -usage of inline {\TeX}; to understand them fully, however, you will have -to consult the {\MusiXTeX}~\texttt{1.15} documentation.Similarily, you -can get an idea from the Vivaldi and Caccini example what {\MTX} is all -about. For a full understanding, you again need to look at the {\MTX} -documentation. - -\subsection{Dufay, \emph{Kyrie} ({\PMX} code) :} - \label{sec:Dufay} \label{p:Dufay} _{\PMX!full-score example} - -\begin{center} \begin{small} -\begin{verbatim} -%----------------% -% -% Dufay, Kyrie -% -%----------------% -% ---- -\font\tit = cmcsc10 scaled \magstep 5 -\font\dat = cmr12 -\def\comp{\rightline{\medtype Guillaume Dufay}} -\def\data{\rightline{\medtype (1400?--1474)}} ---- -2 1 3 4 3 4 0 0 -1 6 20 0 - -bt -./ -Abe -\\def\writebarno{\ifnum\barno>1\lrlap{\oldstyle\the\barno\barnoadd}\fi}%\ -\\def\shiftbarno{0\Interligne}\ -Tt -{\tit Kyrie} -Tc -\vbox{\comp\data} -It92iororb60:68 -% 1-6 -h-4 -Kyrie -dd23 | a23 bf4 | c24 d4 | ad23 | dd24 | a23 d44 // -a23 d4 | c2 d4 | e2 d4 | csd2 | f2 f4 | e2 f4 / -a24 a4 | e2 d4 | g2 f4 | e2 r4 | ad4 g8 a b | cd45 a84 b c85 / - -% 7-9 -c24 bf43 | ad2 | g2 d4 // -e24 d4 | e d8 c4 bf8 | d4 r+7 d / -a84 bf a g g f | ad2 | bf2 a4 / - -% 10-12 -e2 d4 | g4 bf a | gd2 Rd // -g8- f g e f4 | r8+8 [ d+ d cs c bn ] | dd2 / -g2 a4 | g2 fs4 | gd2 / -\end{verbatim} - -\pagebreak -\begin{verbatim} -% 13-18 -L3Mc+4 -h-5 -Christe -dd23 | fd2 | gd2 | d2 d4 | e2 d4 | g2 a4 // -dd24 | c2 f8 e | d4 c bf | ad2 | g2 f4 | r8+7 [ d+ c b c d ] / -ad24 s | ad2 s | r8 [ bf b a b g ] | fsd2 | g2 a4 | d- e f / - -% 19-24 -bf23 a4 | gd2 | d24 c4 | bf43 a g | d f e | dd2 Rd // -g4-r d+ c | d2 r4 | f2 e4 | d c b | a2 gs4 | ad2 / -g24 f4 | g r g | a bf a | g8 f4 e8 g d | f e c d cs b | dd2 / - -% 25-28 -L5Mc+4 -h-5 -Kyrie -d23 g4 | d r8 d e f | g4 f ef | d r+0 r+0 // -d24 ef4 | d2 c4 | bf2 c4 | dd2 / -a24 g4 | f2 g4 | bf a g | fsd2 / - -% 29-32 -g2 a4 | g2 f4 | g2 a4 | d2- d4 // -d2 cs4 | d2 a4 | bf2 c4 | ad2 / -r8 [ g g fs f e ] | g4 f8 g a bf | g4 f e | d r r / - -% 33-36 -g43 f g | a f e | d d+ c | d f e // -bf4 a g | fr a8 g4 f8 | a4 bf8r g4 a8 | d4-r d8+r c4 bf8 / -e84 d4 c8 bf4 | a8 c4 d8 c4 | d8 f4 g8 e4 | f8 d4 a8+ g4 / - -% 37-39 -d2 c4 | dd2 | gd2- // -d2 e4 | fd2 of-2 | dd2 of-2 / -a4 b c | ad2 of | gd2 of / -% -%----------------% -% -% end of Dufay, Kyrie -% -%----------------% -\end{verbatim} -\end{small} \end{center} - -\begin{figure}[!htbp] - \begin{center} -\includegraphics[scale=.73]{eps/dufay.eps} - \end{center} - \caption{\textbf{G.\ Dufay}, \emph{Kyrie} - (generated by {\PMX})} - \label{fig:dufay} -\end{figure} - -\pagebreak -\subsection{Vivaldi, \emph{Mundi Rector} ({\MTX} code) :} -\label{sec:Vivaldi} _{\MTX!full-score examples} - -\vspace*{8ex} -\begin{center} \begin{small} -\begin{verbatim} -%----------------% -% -% Vivaldi, Mundi Rector -% -%----------------% -% -Title: \vbox{\titA\titB} -Composer: \vbox{\comp\data} -Flats: 2 -Meter: 3/8 -Pages: 1 -Systems: 2 -Style: SATB4 -Size: 16 -Space: 6 6 6 12 - -%%\font\rxii = cmr12 -%%\font\tixii = cmti12 -%%\def\titA{\centerline{Mundi rector}} -%%\def\titB{\centerline{\rxii {\tixii Juditha Triumphans}, I, 27}} -%%\def\comp{\rightline{\medtype Antonio Vivaldi}} -%%\def\data{\rightline{\rxii (1678--1741)}} -%%\let\endpiecesav\endpiece\ -%%\def\endpiece{\endpiecesav\input judt}\ -%%\font\rix = cmr9 -%%\rix - -{sopA}={altoA}={tenorA}={basA} -Mun-di Rec-tor de Cae-lo mi-can-ti -Au-di pre-ces, au-di pre-ces, et su-sci-pe vo-ta -Quae de cor-de pro te di-mi-can-ti -Sunt pie-ta-tis in si-nu de-vo-ta. - -{sopB}={altoB}={tenorB}={basB} -In Ju-di-ta tuae le-gi di-ca-ta -Flam-mas dul-cis, flam-mas dul-cis, tui_a-mo-ris-ac-cen-de -Fe-ri-ta-tis sic hos-tis do-ma-ta -In Be-thu-liae spem pa-cis in-ten-de. - -{sopC}={altoC}={tenorC}={basC} -Re-di, re-di iam Vic-trix pu-gnan-do -In ci-li-cio, in ci-li-cio in pre-ce ri-vi-ve -De Ho-lo-fer-ne sic ho-die trium-phan-do -Pia_Ju-di-tha per sae-cu-la vi-ve. -\end{verbatim} - -\newpage -\begin{verbatim} -%%Abp -%%B -%%\def\writebarno{\ifnum\barno>1\lrlap{\oldstyle\the\barno\barnoadd}\fi}% -%%\def\shiftbarno{0\Interligne} -%%It58ibaclobobb60:70 -% 13 -%%h-4 -%%{\ppff ~~~Allegro} -r8 d+ e | e d d | [ c1 b ] c8 a | b g4 -L: {sopA,sopB,sopC} -r8 g g | g g g | fs f f | d d4 -L: {altoA,altoB,altoC} -r8 b c | c b b | a a c | b b4 -L: {tenorA,tenorB,tenorC} -@+13 r8 g g | g g g | a d- d | g g4 -L: {basA,basB,basC} - -%17-20 -r8 b b | [ b1 a ] b4 | r8 c c | [ c1 b ] c8 e -r8 f f | [ g1 f ] g4 | r8 g g | [ a1 g ] a8 c -r8 d d | b b4 | r8 g g | c c e -r8 d d | e e4 | r8 en e | f f f - -%21-24 -d8 e c | (~ [ b1 a b c d e ] | [ f b- ] c4 oT0 )~ | bd4 :|: -b8 c a | (~ [ bd8 a1 b c ] | d b a4 oT0 )~ | bd4 :|: -f8 g f | ( fd4 | fd4 ) | fd4 :|: -b8 e- f | (~ ( bd4- | b8 ) f4+ )~ | bd4- :|: - -%25-28 -%%L2 -r8 bn b | [ c1 bn ] c8 g | d+ d d | [ e1 d ] c4 | -r8 g g | g g g | g g g | g g4 | -r8 d d | e e e | d d d | c c4 | -r8 g+ g | c- c c | bn b b | c e4 | - -%29-31 -c8 b4 | b8 a c | b c a | -a8 g4 | g8 fs a | g a fs | -fs8 d4 | eN8 FS F | D EF D | -D8 D4 | CS8 D D | G C- D | - -%32-34 -(~ [ G1 FS G A B C ] | [ D G- ] A4 OT0 )~ | GD4 OF :| -(~ [ GD8 FS1 G A ] | [ B G ] FS4 OT0 )~ | GD4 OF :| -( DD4 | DD ) | DD OF :| -{~ ( GD4 | G8 ) D4 }~ | GD- OF :| -\END{VERBATIM} - -\NEWPAGE -\BEGIN{VERBATIM} -%%%%%%%%%%%%%%% TEXT WRITTEN TO A SEPARATE FILE -%%%%%%%%%%%%%%% JUDT.TEX -\FONT\BIG = CMCSC10 SCALED \MAGSTEP 5 -\LEFTSKIP = 3 CM -\FONT\LYR = CMTI10 -\LYR - -\DEF\LYROFFS{5MM} - -\VSKIP 10 MM -\HALIGN{\HSKIP 12MM # \HFILL & # \HFILL & # \HFILL & # \HFILL \CR - -MUNDI RECTOR DE CAELO MICANTI -& IN JUDITA TUAE LEGI DICATA -& REDI, REDI IAM VICTRIX PUGNANDO \CR - -AUDI PRECES ET SUSCIPE VOTA -& FLAMMAS DULCIS TUI AMORIS ACCENDE -& IN CILICIO IN PRECE RIVIVE \CR - -QUAE DE CORDE PRO TE DIMICANTI -& FERITATIS SIC HOSTIS DOMATA -& DE HOLOFERNE SIC HODIE TRIUMPHANDO \CR - -SUNT PIETATIS IN SINU DEVOTA. -& IN BETHULIAE SPEM PACIS INTENDE. -& PIA JUDITHA PER SAECULA VIVE. \CR -\END -% -%----------------% -% -% end of Vivaldi, Mundi Rector -% -%----------------% -\end{verbatim} -\end{small} \end{center} -\pagebreak - -\begin{figure}[!htbp] - \begin{center} -\includegraphics[scale=.73]{eps/vivaldi2.eps} - \end{center} - \caption{\textbf{A.\ Vivaldi}, \emph{Mundi Rector} - (generated by {\MTX}/{\PMX})} - \label{fig:vivaldi2} -\end{figure} -\pagebreak - -\subsection{Caccini, \emph{Amor l'ali m'impenna} ({\MTX} code)} -\label{sec:Caccini} _{\MTX!full-score examples} - -\begin{center} \begin{small} -\begin{verbatim} -%----------------% -% -% Caccini, Amor l'ali m'impenna -% -%----------------% -% -Title: {\tit {Amor l'ali m'impenna}} -Composer: \vbox{\compA\compB} -Meter: C -Style: Singer Cont Bass -Singer: Voices Sop; Vocal; Clefs G -Cont: Voices RH1,RH2; Clefs G -Bass: Voices B; Clefs F -Flats: 1 -Systems: 12 -Pages: 3 -Space: 4 1 -Size: 20 -Indent: 0.10 -Name: {\it{Soprano}} ~ {\it{Continuo}} - -%%\input musixbar\input curly -%%\font\data = cmr10 -%%\font\tit = cmb10 scaled \magstep 4 -%%\font\rxii = cmr12 -%\font\mov = cmmib10 scaled \magstep 1 -%%\font\num = cmr9 -%%\def\compA{\rightline{\rxii Giulio Caccini}} -%%\def\compB{\rightline{\data (1550--1618)}} -%%\def\writebarno{\ifnum\barno>1\lrlap{\oldstyle\the\barno\barnoadd}\fi}% -%%\def\shiftbarno{0\Interligne} - -{Aria} -A-mor l'a-li m'im-pen-na. -A-mor dol-ce, a-mor ca-ro,_a-mor fe-li-ce. -Tal che non spe-ro pi{\`u} n{\'e} pi{\`u} mi li-ce. -Pas-so nem-bi_e pro-cel-le, -pas-so'l ciel e le stel-le, -del pia-cer que-st'{\`e}'l re-gno. -Ah, mia for-tu-na non se l'ab-bia a sde-gno. -Que-sto, que-sto m'ac-co-ra: -ch'al-tri ca-deo, -ch'al-tri ca-deo dal pa-ra-di-so_an-co-ra. -Ah, mia for-tu-na non se l'ab-bia a sde-gno. -Que-sto, que-sto m'ac-co-ra: -ch'al-tri ca-deo, -ch'al-tri ca-deo dal pa-ra-di-so_an-co-ra. - -%%w187m -%%h251m -%%Ab -%%B -%%It86ivchaobb58:70:64 -%% \\setsize2\smallvalue\curlybrackets{{1}{2}}\ -%%\\let\interstaffsav\interstaff\def\interstaff#1{}\interstaffsav{9}\ -%%\\\indivbarrules\sepbarrule3\ -% Bar 1 -@+2 f0 -L: {Aria} -f0 -c0 za -f0 - -% Bar 2 -f2 ( f2 -f2 f4 e -a2 zd c zf- -d2 - a2 6 - -% Bar 3 -f4 ) f8 g8 (~ [ a1 b1 c1 b1 ] [ a8 g8 ] -d4.e f.e -b2 zf f zc+ -b2 a2 6 - -% Bar 4 -[ fd8 g1 ] [ f8 g8 ] [ a1 ( g g8 ) ] [ a1 ( f f8 ) ] )~ -d0e -cd2 zf- g4 zbn -d2 7 ( d4 7 d4 #6 ) - -% Bar 5 -g2 r4 g8 g8 -e2 g -c2 zg e+ zc -c2 c2 - -% Bar 6 -b2 g4 d8 d8 -b4 zd- a+ zc- g2+ -g2e+ d zb -g2 - g2 - -% Bar 7 -f4 [ f1 e1 f1 g1 ] a4 [ e1 d1 e1 f1 ] -fd2 za- g4 ze+ -de2 c -d2+ - a4 c4 - -% Bar 8 -g0 -d0 zg- -ce2 bn -\zcharnote{-6}{\num 11}\ ( g2 \zcharnote{-6}{\num 10}\ g ) - -% Bar 9 -g0 -e0+ -c0 zg -c0 - -% Bar 10 -c4 g8 g8 b4 [ a1 b1 c1 b1 ] -g2 g -c2 ze d zb -c2 g2 - - -% Bar 11 -ad4 d8- f4 [ e1 f1 g1 f1 ] -f2.g -a2 zd d zb -d2+ - b4 g4 - - -% Bar 12 -e0 -\zw e\ dr2 cs -a2d-2 g4 -%%%%%% The two following lines must actually be written in one line! -\zcharnote{-6}{\num 11}\ (5t a2 \zcharnote{-6}{\num $\sharp $10}\ -(6t a4 )5t a 7 )6t - -% Bar 13 -d2 r4 fs8 f8 -d2 fs -fs2 zd+ d za -d2 # d2 - -% Bar 14 -g4 d8 d8 (~ [ e8 f1 e1 ] [ f1 e1 d1 e1 ] )~ -g4 fn e2 -b2 zd c zg -g2- c2 - -% Bar 15 -f2 r4 fs8 f8 -f2 fs -a2 zc d za -f2 d2 - -% Bar 16 -g4 d8 d8 [ e8 f8 fd8 e1 ] -g4 fn e2 -b2 zd c zg -g2- c2 - -% Bar 17 -f4 f8 g8 a2 -f2 f -a2 zc c za -f2 f4 e8 d8 - -% Bar 18 -cd8 c1 (~ [ b1 a1 g1 f1 ] g2 )~ -e4 ( f f ) e -g2 zc c zg -%%%%%% The two following lines must actually be written in one line! -( c4 \zcharnote{-6}{\num 11}\ c4 ) -\zcharnote{-6}{\num 11}\ c4 \zcharnote{-6}{\num 10}\ c4 - -% Bar 19 -f0 -f0 -a0 zc -f0- - -% Bar 20 -ad2 g8 f8 -f4 ( c c ) bn -a4 g ( f f ) -f4+ e4 ( d4 d ) - -% Bar 21 -e8 d8 e8 f8 g2 -c2 r8+0 e d c -g2 ze rb -( c2 c8 ) c8 b8 a8 - -% Bar 22 -g4 d4 d2 -bnr4 ( c c ) b -g0 zd+ -%%%%%% The two following lines must actually be written in one line! -\zcharnote{-6}{\num $\sharp $10}\ ( g4 \zcharnote{-6}{\num 11}\ g ) -( \zcharnote{-6}{\num 11}\ g4 \zcharnote{-6}{\num $\sharp $10}\ g ) - -% Bar 23 -c0 -e0 -c0 zg -c0 - -% Bar 24 -gd4+ e8 a4 g8 f8 -e2 e4 f -g2 zc c za -c2 a4 f4 - -% Bar 25 -g2 f8 f8 f8 e8 -e2 f -g2 zc c za -c2+ f2- - -% Bar 26 d2 r8 b8+ b a f2 g b2 zd d zb b4 b8 a8 g2 - - -% Bar 27 g8 e8 e8 f8 g4 [ f1 g1 a1 b1 ] g4 f e ( f c2 ze c zg c2 -c4 \zcharnote{-4}{\num 11}\ c4 - -% Bar 28 g0 f2 ) cr4 b g2 zc e zg- %%%%%% The two following -lines must actually be written in one line! \zcharnote{-4}{\num -11}\ (5t c2 (6t \zcharnote{-4}{\num 10}\ c4 )5t c 7 )6t - -% Bar 29 f0 f0+ a0 f0- - -% Bar 30 ad2 g8 f8 f4 ( c c ) bn a4 g ( f f ) f4+ e4 ( d 7 d #6 -) - -% Bar 31 e8 d8 e8 f8 g2 c2 r8+0 e d c g2 ze rb ( c2 c8 ) c8 b8 -a8 - -% Bar 32 gd8 (~ g1 [ f1 e1 d1 c1 ] )~ d2 bnr4 ( c c ) b g0 zd+ -%%%%%% The two following lines must actually be written in one -line! \zcharnote{-6}{\num $\sharp $10}\ ( g4 \zcharnote{-6}{\num -11}\ g ) ( \zcharnote{-6}{\num 11}\ g \zcharnote{-6}{\num -$\sharp $10}\ g ) - -% Bar 33 c0 e0 c0 zg c0 - -% Bar 34 gd4+ e8 a4 g8 f8 e2 e4 f g2 zc c za c2 a4 f4 - -% Bar 35 g2 f8 f8 f8 e8 e2 f g2 zc c za c2+ f2- - -% Bar 36 d2 r8 b8+ b a f2 g b2 zd d zb b4 b8 a g2 - - -% Bar 37 g2 r8 c8 c8 b8 g2 a4 b c2 ze c4 zf d zg c4 c8 b8 a4 6 -g4 - -% Bar 38 a4 b4 ( c2 a2 a f2 c f2 a4 6 b4 - -% Bar 39 [ c8 ) (~ b1 a1 ] [ g1 f1 e1 d1 ] [ e1 d1 c1 d1 ] [ e1 -f1 g1 a1 ] g0 c0 ze c0 - -% Bar 40 [ g1 c1- d1 e1 ] [ f1 g1 a1 b1 ] [ c1 b1 a g1 ] [ a1 g1 -a1 f1 ] e0 c0 zg c0 - -% Bar 41 g0 )~ f2 e \zw N\ ce2d+0+1 b4 %%%%%% The two following -lines must actually be written in one line! \zcharnote{-4}{\num -11}\ (1t c2 (2t \zcharnote{-4}{\num 10}\ c4 )1t c 7 )2t - -% Bar 42 f0 f0 a0 f0- % %----------------% % % end Caccini, -Amor l'ali m'impenna % %----------------% \end{verbatim} -\end{small} \end{center} - -\begin{figure}[!htb] \begin{center} - \includegraphics[scale=.75]{eps/caccini1.eps} - \end{center} \end{figure} \begin{figure}[!htb] - \begin{center} - \includegraphics[scale=.75]{eps/caccini2.eps} - \end{center} \end{figure} \begin{figure}[!htbp] - \begin{center} - \includegraphics[scale=.75]{eps/caccini3.eps} - \end{center} \caption{\textbf{G.\ Caccini}, \emph{Amor - l'ali m'impenna} (generated by {\MTX}/{\PMX})} - \label{fig:caccini} \end{figure} - -\addcontentsline{toc}{chapter}{Index} - -\printindex - -\end{document} - - -%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% -% End of PMX tutorial by ccn / Mon 2003 Sep 22 /19:15 -/ccn -%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%))) diff --git a/Master/texmf-dist/doc/generic/pmx/ref260.pdf b/Master/texmf-dist/doc/generic/pmx/ref260.pdf deleted file mode 100644 index 7273f7fc68c..00000000000 Binary files a/Master/texmf-dist/doc/generic/pmx/ref260.pdf and /dev/null differ diff --git a/Master/texmf-dist/doc/generic/pmx/ref260.tex b/Master/texmf-dist/doc/generic/pmx/ref260.tex deleted file mode 100644 index 32fa9bdfdce..00000000000 --- a/Master/texmf-dist/doc/generic/pmx/ref260.tex +++ /dev/null @@ -1,456 +0,0 @@ -%%%%%%%%%%%%%%%%% -%% -%% ref20.tex (latex2e?) -%% -%%%%%%%%%%%%%%%%% -\ifx\documentstyle\undefined -% \documentstyle[11pt,multicol]{article} - \documentstyle[12pt,multicol]{article} -\else -% \documentclass[11pt]{article} - \documentclass[12pt]{article} - \usepackage{multicol} -\fi - -\pagestyle{empty} - -% A4 horizontal 210mm, letter vertical 11in: -\setlength{\textwidth}{21cm}\addtolength{\textwidth}{-2cm} -\setlength{\textheight}{11in}\addtolength{\textheight}{-2cm} -\addtolength{\topmargin}{-3.5cm} -\addtolength{\oddsidemargin}{-3.4cm} -\addtolength{\evensidemargin}{-3.4cm} -\setlength\columnsep{2mm} - -\hoffset22.5pt - -\message{h=\the\textheight, w=\the\textwidth, s=\the\columnsep} - -\begin{document} - -{\footnotesize\small - -\def\bs{{\tt\char'134}} -\def\bsn{\bs} -\def\dhline{\hline\hline} -\def\newcol{ -\hline -\end{tabular} - -\begintab -\hline -} -%\let\blank\ \def\ {\blank\blank} - -\centerline{QUICK REFERENCE TABLE FOR {\bf PMX}, -Version 2.6, -July 2010~~~ -\hfill by Don Simons (dsimons@roadrunner.com)} - -%\begin{multicols}{2} -\null - - This table defines PMX command syntax. Each command starts with a -single character from a non-indented line, followed by characters from -subsequent indented lines, with no internal spaces. When characters -on the same line are separated by commas, only one can be used, unless -otherwise noted. Characters enclosed in brackets {\tt [~]} are optional, -but if one is used and the following line is indented and unbracketed, -then one character must be used from the unbracketed group. Several -characters, chosen from different lines that are indented the same -amount, may be used in sequence. {\it d1, d2} are single digits, so -for example {\it d1}{\tt[}{\it d2}{\tt]} is a one- or two-digit integer. -{\it i} is any non-negative integer. -{\it x} is any non-negative decimal number. - -%\end{multicols} - -\begin{multicols}{2} -\begin{center} -%\def\begintab{\begin{tabular}{|p{3.0cm\tt}|p{5.5cm\hangindent5pt}|}} -\def\begintab{\begin{tabular}{|p{3.0cm\tt}|p{5.5cm\hangindent5pt}|}} -\begintab -\hline -a,b,c,d,e,f,g & Note name.\\ -\ [0,2,4,8,1,\break\rightline{3,6,9]} & If first digit, duration. - Must include if duration not yet set in current input block.\\ -\ [1,2,3,4,5,\break\rightline{6,7]} & If second digit, Octave number. - Must include if octave not yet set in current input block.\\ -\ [d] & Dot.\\ - \ \ [+.- {\it x}] & Vertical shift, \bsn{}internotes.\\ -\ \ \ [+.- {\it x}] & Horiz. shift, notehead widths.\\ -\ \ [d] & Double dot.\\ -\ [f,s,n] & Accidental. Repeat for double.\\ -\ \ [+,- {\it i} +,- {\it x}] & Vertical shift, \bsn{}internotes; - horiz. shift, notehead widths.\\ -\ \ [<,> {\it x}] & Horiz. shift, notehead widths.\\ -\ \ [i] & MIDI-only accidental.\\ -\ \ [c] & Cautionary accidental.\\ -\ [+,-] & Shift octave from default (default is within a 4th).\\ -\ [u,l] & Force stem direction.\\ -\ [a] & Prohibit beaming this note. If first note of xtuplet, prohibit - beaming the xtuplet.\\ -\ [r] & Right offset by one notehead.\\ -\ [e] & Left offset by one notehead.\\ -\ [.] & Dot shortcut: {\tt a8.b} = {\tt ad8 b1} \\ -\ [,] & 2:1 shortcut: {\tt a8,b} = {\tt a8 b1} \\ -\ [D] & In xtuplet note only, double duration. Reduce number of - notes in xtup by 1.\\ -\ [F] & As above, and add dot.\\ -\ [S{\it x}] & Shrink stem length by {\it x} \bs{\tt internote}.\\ -\ \ [:] & Make it sticky.\\ -\ [S:] & Shrink this stem, then turn off stem shrinkage.\\ -\ [Ao] & In main chord note, post accidentals in order entered.\\ -\newcol -~ & Note options, continued\\ -\ [x{\it i}] & An {\it i}-tuplet starts here. - Duration (already set) refers to total for xtuplet. - Next $i-1$ notes or rests are in - xtuplet. They must have no duration number; may have - octave number or {\tt d} for dot.\\ -\ \ [d] & Dot first xtup note, halve next.\\ -\ \ [n] & Fine-tune printed number. \\ -\ \ \ (\it{blank}) & Don't print number. \\ -\ \ \ [f] & Flip vertical location. \\ -\ \ \ [{\it i}] & Replacement printed number. \\ -\ \ \ [+,- {\it i}] & Vertical shift, \bsn{}internotes.\\ -\ \ \ \ [+,- {\it x}] & Horiz. shift, notehead widths.\\ -\ \ \ [s] & Fine tune slope of bracket for non-beamed xtuplet.\\ -\ \ \ \ +,- {\it i} & Slope adjustment.\\ -\dhline -z & Chordal note. No duration allowed.\\ -\ a,b,c,d,e,f,g & Note name.\\ -\ \ [f,s,n] & Flat, sharp, natural. Repeat for double flat or sharp. - Shift options same as on main note.\\ -\ \ \ [A] & (Preceding a shift) Apply shift relative to PMX-computed one.\\ -\ \ [+,-] & Up or down one octave. - may use several in succession.\\ -\ \ [r,e] & Right or left offset by one notehead.\\ -\ \ [d] & Dot. Permitted but not required, unless dot is to - be shifted. \\ -\ \ \ [+,- {\it x}] & Vertical shift, \bsn{}internotes.\\ -\ \ \ \ [+,- {\it x}] & Horiz. shift, notehead widths.\\ -\newcol -r & Rest.\\ -\ [0,2,4,8,1,\break\rightline{3,6,9]} & Duration. - Must include if duration not yet set in current input block.\\ -\ [d] & Dot.\\ -\ [p] & Full-bar rest using 'Pause' symbol (no digit).\\ -\ [m{\it i}] & Multi-bar rest of {\it i} bars.\\ -\ [b] & Blank rest, not printed (this line of music - drops from sight).\\ -\ [o] & Suppress centering full-bar rest.\\ -\ [+,- {\it i}] & Raise/lower rest from middle line, \bsn{}internotes.\\ -\ [L] & With AK, align rest with note to left. \\ -\ [x{\it i}] & Start xtup. After above options. See description for - main note.\\ -\dhline -o & Ornament. Symbol comes after note.\\ -%\ t,m,x,+,u,p,\break\rightline{),-,>,\raise1pt\hbox{\^\ }.} -\ t,m,x,+,u,p,\break\rightline{(,),\_,.,>,\^\ } - & Shake, mordent, ``x", ``+", pizz., strong pizz., ``(" before - notehead, - ``)" after notehead, tenuto, stacc., sfz, duncecap\\ -\ c,b & Caesura, breath.\\ -\ \ [+,- {\it i}] & Vertical shift, \bs{\tt internote}.\\ -\ \ \ [+,- {\it x}] & Horiz. shift, notehead widths.\\ -\ f & Fermata. Default is up.\\ -\ \ [d] & Convert to down fermata. \\ -\ T,Tt & Trill ({\it tr}) with or without wavy line.\\ -\ \ [{\it x}] & Length to end of wavy line, \bsn{}noteskips. - Default is one \bsn{}noteskip. - Use {\tt oT0} for {\it tr} .\\ -\ g & Segno. Voice \#1 only.\\ -\ \ [[-]{\it d1}[{\it d1}]] & Offset of segno symbol in points.\\ -\ e & Editorial accidental. \\ -\ \ s,f,n & Sharp, flat, natural. \\ -\ \ \ [?] & Editorial accidental is dubious. \\ -\ \ ? & Text is dubious. \\ -\ [+,- {\it i}] & (After~setting~ornament~type)\break Raise/lower by - {\it i} \bsn{}internotes from default.\\ -\ [:] & Repeat toggle. Must come last. First instance, after setting - ornament type, gives all later notes same ornament, until - {\tt o:} shuts it off. \\ -\newcol -G & Grace note group.\\ -\ [{\it i}] & Number of notes in group. Not needed if 1. - If {\tt>}1, next $i-1$ notes are in grace.\\ -\ [s] & Slur to/from main note.\\ -\ [m {\it d1}] & Multiplicity (number of flags or beams). Default is 1.\\ -\ [x] & Slash. Single grace only. \\ -\ [l,u] & Forced stem direction.\\ -\ [A,W] & Put grace just after main note, or shifted as far - right as possible.\\ -\ [X{\it x}] & Gap to main note, notehead widths. \\ -\ ({\it first note}) & Must follow the above options, with no space. - Use same symbols as normal note.\\ -\dhline -s,t,) & Slur toggle. Place after note. If {\tt Ap} is on, {\tt t} causes - true tie.\\ -( & Placed before note, same as {\tt s} placed after. \\ -\ [{\it c}] & Optional ID code, {\tt 1-9} or {\tt A-Z} . Must be first - after {\tt s,t,(,)} .\\ -\ [u,d,l] & Force slur direction. Only allowed at slur start.\\ -\ [t] & Position slur end as tie rather than slur. With postscript - slurs, print a true tie.\\ -\ [b] & Dotted slur.\\ -\ [+,- {\it i}] & Raise/lower start/end of slur, \bsn{}internotes.\\ -\ \ [+,- {\it x}] & Horizontal shift start/end of slur, notehead widths. \\ -\ \ \ [+,- {\it i}] & Mid-height alteration, nonzero, only on termination.\\ -\ \ \ \ [:{\it d1d2}] & Alter starting and ending slope, 1-7.\\ -\ [f,n,h,H,HH] & Flatten, normalize, or increase curvature. For font-based slurs, only allowed - on termination. For Type K linebreak slurs, applies to first segment if on start, - second if on end.\\ -\ [s +,- {\it i}] & On start of a line-breaking type K slur or tie, vertical adjustment - of end of first segment.\\ -\ \ +,- {\it x} & Horizontal tweak of end of first segment.\\ -\ \ \ [+,- {\it i}] & Vertical adjustment of start of second segment.\\ -\ \ \ \ +,- {\it x} & Horizontal tweak of start of second segment.\\ -\ [p] & Local change in postscript slur or tie adjustment.\\ -\ \ +,- & Turn on or off automatic adjustment.\\ -\ \ \ s,t & Adjust slur or tie.\\ -\newcol -A & Miscellaneous controls. - Only at start of first block except {\tt i} , {\tt I}\\ -\ [i,I {\it x}] & Factor on \bs{\tt interstaff}\\ -\ [d] & Lower dots in lower voice of 2 on a staff\\ -\ [a{\it x}] & Change afterruleskip to {\it x} \bs{\tt elemskip}s. Default - is 1.\\ -\ [b,s] & Force big or small accidentals.\\ -\ [r] & Relative accidentals. Must be set if transposing.\\ -\ [e] & Equalize inter-system spacing.\\ -\ [S] & Tweak accidental spacing for staves made small with in-line - TeX.\\ -\ \ -,0;...;-,0 & A string of yes-or-no specifiers, one for each staff.\\ -\ [v] & Toggles vshrink (initially on), which collapses pages vertically - when computed \bs{\tt interstaff} exceeds 20.\\ -\ [N] & User-defined part file name.\\ -\ \ {\it i}"{\it name}" & Name to use in part {\it i}.\\ -\ [T] & Use Col. S's broken brackets for non-beamed xtups.\\ -\ [p] & Activate postscript slurs.\\ -\ \ l & Activate special adjustments for line-breaking slurs and ties.\\ -\ \ h & Input Type K postscript header at start of every page, so pages can be - separated e.g. with dviselec.\\ -\ \ [+,-] & Turn on or off global slur or tie adjustments, or halfties.\\ -\ \ \ s,t,h,c & Switch slur, tie, halftie, or ratchet curvature.\\ -\ [R] & Read in normal include file.\\ -\ \ {\it filename} & File name, may include path.\\ -\ [K] & Activate special rules for rest positions in 2-staff keyboard scores.\\ -\dhline -B & Toggles default stem direction for middle line of bass clef. - (intial direction is up).\\ -\dhline -C & Clef change.\\ -\hbox{\ t,s,m,a,n,r,}\hbox{\ b,f or 0-7} & New clef. ({\bf t}reble, {\bf s}oprano, - {\bf m}ezzo-soprano, {\bf a}lto, te{\bf n}or, ba{\bf r}itone, - {\bf b}ass, {\bf F}rench violin).\\ -\dhline -D & Dynamics.\\ -\ p,pp,...,ffff & Pre-defined standard dynamics.\\ -\ "{\it text}" & Any text string.\\ -\ <.> & Hairpin toggles.\\ -\ \ [+,- {\it n }] & Vertical shift from default, \bs{\tt internote}s.\\ -\ \ \ [+,- {\it n }] & Horizontal shift from default, notehead widths.\\ -\newcol -F & Cancels figures in bass line - (use with {\tt \%1} in score file - to make a bass part with no figures).\\ -\dhline -h,w & If followed by number, page height or width. - Only at start of first input block.\\ -\ {\it x} & Page height or width.\\ -\ \ [i,m,p] & Inches, mm, points. Default is points.\\ -\dhline -h & If followed by blank or {\tt [+,-]}, heading. - Next input line will print above top staff.\\ -\ [+,- {\it i}] & Alter height from default, \bs{\tt internote} \\ -\dhline -I & MIDI controls. Only at start of an input block.\\ -\ [t{\it x}] & Set tempo to {\it x} beats per minute.\\ -\ [p{\it x}] & Insert a pause of {\it x} quarter notes.\\ -\ [i{\it i1i2...in}] & Specify {\tt noinst} MIDI instruments. {\it i1,i2...in} - are integers between 1 and 128 or 2-letter abbreviations. - Consecutive integers must be separated with {\tt ":"}.\\ -\ [v{\it i1}:{\it i2}:...{\it in}] & Specify {\tt noinst} velocities - (volumes), 1$\leq${\it i}$\leq$128. \\ -\ [b{\it i1}:{\it i2}:...{\it in}] & Specify {\tt noinst} balances - 1$\leq${\it i}$\leq$128, 64=center. \\ -\ [T] & MIDI-only transposition.\\ -\ \ +,- {\it i1} +,- {\it i2} ... +,- {\it in} & Amounts of transpositions, multiples - of 12 only, {\tt noinst} values.\\ -\ [g{\it i}] & Internote gap in midi tics. Default = 10\\ -\ [MR{\it i}] & Start recording macro {\it i}.\\ -\ [M] & Stop recording.\\ -\ [MP{\it i}] & Playback (insert) macro {\it i}.\\ -\dhline -K & Key signature change and/or transposition.\\ -\ +,- {\it i} & Amount of transposition in \bsn{}internotes. Use {\tt-0} to transpose - by 1/2 step to same-name key.\\ -\ \ +,- {\it i} & New key signature.\\ -\dhline -l & Next input line is a text string - to appear below top staff.\\ -\newcol -L{\it i} & Force a line break at line {\it i}. Voice \#1 only. Start of - block only.\\ -\ [P{\it i}] & Force a page break at page {\it i}.\\ -\ [M] & Movement break. Must follow {\tt P} if present. \\ -\ \ [+{\it i}] & Extra vertical space, \bs{\tt internote}. \\ -\ \ [i{\it x}] & New indent, decimal fraction of line width.\\ -\ \ [c] & Continue bar numbering, do not reset.\\ -\ \ [r +,-] & Force or suppress reprinting instrument names.\\ -\ \ [n{\it i}] & Change to {\it i} instruments.\\ -\ \ \ {\it d1d2...di} & Numbers of instruments. Precede 2-digit numbers with {\tt :}\\ -\ \ \ \ {\it c1c2...ck} & Clef symbols. Enter one for - every staff in new lineup.\\ -\dhline -m & Meter change. Voice \#1 only. Start of input block only.\\ -\ o,{\it d1}[{\it d2}] & True numerator of meter. - Use {\tt o} if full value is exactly 1. - If {\it d1}=1, numerator is 10+{\it d2}.\\ -\ \ {\it d1}[{\it d2}] & True denominator.\\ -\ \ \ o,{\it d1}[{\it d2}] & Printed numerator of meter. Use {\tt o} as above.\\ -\ \ \ \ {\it d1}[{\it d2}] & Printed denominator.\\ -\ {\it d1}[{\it d2}]/ & (Alternate syntax) true numer-ator \\ -\ \ {\it d1}[{\it d2}]/ & true denominator \\ -\ \ \ {\it d1}[{\it d2}]/ & printed numerator \\ -\ \ \ \ {\it d1}[{\it d2}] & printed denominator \\ -\dhline -M & Macro. If alone, ends recording or saving.\\ -\ [R,S,P] & Record (store and execute), save (store but do not execute), - or playback. \\ -\ \ {\it i} & Macro ID number, from 1 to 20. \\ -\dhline -P & Start page numbering in this page. Voice \#1 only. - Start of input block only.\\ -\ [{\it i}] & Starting page number. Default is 1.\\ -\ [r,l] & Margin for starting page number. Default is 'r'.\\ -\ [c] & Centered header on each page. Must be last option in symbol. - Default text is instrument name \\ -\ \ [{\it text}] & Text with no blanks \\ -\ \ ["{\it text}"] & Text with blanks \\ -\newcol -R & Repeat or doublebar. Voice \#1 only. - Doublebars at start of bar only.\\ -\ l,r,lr,d,D,dl & Left repeat, right repeat, l-r rpt, doublebar, doubleBAR, - doublebar-left repeat.\\ -\ z & Blank barline at next system break.\\ -\ b & Single bar (end of movement or piece).\\ -\dhline -S{\it i} & Reset total number of systems to {\it i}. - Only at start of first input block. - Only useful with \bs{\tt \%}{\it j} for automatically - generated parts.\\ -\ [P{\it i}] & Force total number of pages to be {\it i}.\\ -\ [m{\it i}] & Change musicsize to {\it i}.\\ -\dhline -T & Title string. Only at start of first input block.\\ -\ t[{\it d1}[{\it d2}]],i,c & Title of piece (centered), instrument (left - justified), or composer (right justified). Following line - is the text. - {\tt Tt} may be followed by a number (\bsn{}internotes) to add - vertical space below entire title block. - {\tt Tt} must come after {\tt Ti} and {\tt Tc} for this to work.\\ -{\it text}\bs\bs{\it text} & Make a line break in the title string.\\ -\dhline -V & Toggle for Volta. Voice \#1 only. Start of bar only. - For scor2prt, only allowed one per input block, - and it must come at start of block.\\ -\ [{\it text}] & Text for start of volta. May not be ``b" or ``x".\\ -\ b,x & At end of volta, boxed end or horizontal (no box).\\ -\dhline -W & Set new minimum horizontal space between noteheads.\\ -\ . & Decimal point (required).\\ -\ \ {\it d1} & Tenths of notehead width. Default is 3.\\ -\dhline -x & Floating figure (offset to right).\\ -\ {\it d1} & Number of note-length units of offset.\\ -\ \ {\it d2} & Note-length unit. Same code as for note durations.\\ -\ \ \ 2,3,\dots,9,\break\rightline{\#,-,n,0{\it d1}} - & Characters for floating figure, - arranged as in normal figure.\\ -\newcol -X & Shift or insert hardspace. \\ -\ [-]{\it x} & Distance. Default units are notehead widths.\\ -\ \ [{\tt p}] & Units are points.\\ -\ [:] & Begin shift (if number\break also present), end shift - (if no number),\\ -\ [S] & Single-note shift ({\tt S}). \\ -\ [P] & Use only in part, not score. \\ -\ [B] & Use in both score and part. \\ -\dhline -2,3,\dots,9,\#,-,n & Normal figure. - Combine characters as needed. See manual.\\ -0 {\rm (zero)} & Continuation figure.\\ -\ {\it x} & Length in \bsn{}internotes.\\ -\_ {\rm (underscore)} & Placeholder figure, to lower the next one. \\ -\ [+{\it i}] & In any figure, raise by {\it i}~\bs internotes. \\ -\ [s] & (With 2,4,5,6,9) add slash. Must have font cmrj. \\ -\dhline -[ & Start a forced beam.\\ -\ [j] & Continue an existing staff-\break jumping beam.\\ -\ [u,l] & Direction of forced beam.\\ -\ [f] & Flip beam direction.\\ -\ [m {\it d1}] & Forced multiplicity. {\it d1} = 1 - 4. \\ -\ [h] & Force horizontal beam (zero slope).\\ -\ [:] & After this forced beam, continue forced beaming over the - same interval until next explicit forced beam or end of - input block.\\ -\ [+,- {\it i}] & Vertical offset, \bsn{}internotes.\\ -\ \ [+,- {\it i}] & Change slope from default.\\ -\ \ \ [+,- {\it i}] & Distance to raise or lower beam, beam thk's.\\ -\dhline -] & End forced beam.\\ -\ [j] & Keep beam open, prepare to jump to other staff \\ -\dhline -][ & Between two notes in a forced beam, - decrease multiplicity to 1, then immediately increase. - Treated as a single symbol, set off by spaces.\\ -\dhline -]-[ & Between two notes in forced beam, end one segment and - start next of a single-slope beam group\\ -\dhline -( & Placed before a note, equivalent to {\tt s} after note. \\ -) & Equivalent to {\tt s} . \\ -\dhline -\{ & Placed before a note, equivalent to {\tt t} after note. \\ -\} & Equivalent to {\tt t} . \\ -\newcol -? & Arpeggio start/stop. Comes after note. \\ -\ [-{\it x}] & Shift left by {\it x} notehead widths. \\ -\dhline -\bs,\bs\bs,\bs\bs\bs & Start a literal \TeX~string before - next note, before \bsn{}startmuflex, or before - first \bsn{}notes group of current input block.\\ -\ {\it Text}\bs & TeX string and terminator. - May have more than one TeX command, strung end-to-end.\\ ---- (\rm 3 minus's) & Toggle for multiline \TeX\ block. Must start on first - line. All lines until next {\tt ---} will be copied verbatim - to top of \TeX\ file.\\ -\dhline -[|] & Bar line. Only used for checking, except required after - end-of-bar inserted hardspace.\\ -\dhline -/ & Terminate input for a staff in this input block.\\ -\dhline -// & Terminate first line of music on this staff for this input - block, start a second line of music on same staff.\\ -\dhline -\% & Comment line.\\ -\ [{\it h}]{\it text} & Scor2prt will put {\it text} - into the part whose hexadecimal number is {\it h}.\\ -\ [!]{\it text} & {\it text} - will be put in all parts by scor2prt.\\ -\ [\%] & Following line will be ignored by scor2prt.\\ -\dhline -.\break\null\ {\it note command} & Detatched dot-form shortcut.\break Note will have - 1/3 duration of prior note. See note name command.\\ -\dhline -,\break\null\ {\it note command} & Detatched 2:1 shortcut. Note will have - 1/2 duration of prior note. See note name command.\\ -\hline -\end{tabular} -\end{center} -\end{multicols} -} -\end{document} diff --git a/Master/texmf-dist/doc/generic/pmx/ref270.pdf b/Master/texmf-dist/doc/generic/pmx/ref270.pdf new file mode 100644 index 00000000000..2165a99d6bf Binary files /dev/null and b/Master/texmf-dist/doc/generic/pmx/ref270.pdf differ diff --git a/Master/texmf-dist/doc/generic/pmx/ref270.tex b/Master/texmf-dist/doc/generic/pmx/ref270.tex new file mode 100644 index 00000000000..a1f6506c92f --- /dev/null +++ b/Master/texmf-dist/doc/generic/pmx/ref270.tex @@ -0,0 +1,464 @@ +%%%%%%%%%%%%%%%%% +%% +%% ref270.tex (latex2e?) +%% +%%%%%%%%%%%%%%%%% +\ifx\documentstyle\undefined +% \documentstyle[11pt,multicol]{article} + \documentstyle[12pt,multicol]{article} +\else +% \documentclass[11pt]{article} + \documentclass[12pt]{article} + \usepackage{multicol} +\fi + +\pagestyle{empty} + +% A4 horizontal 210mm, letter vertical 11in: +\setlength{\textwidth}{21cm}\addtolength{\textwidth}{-2cm} +\setlength{\textheight}{11in}\addtolength{\textheight}{-2cm} +\addtolength{\topmargin}{-3.5cm} +\addtolength{\oddsidemargin}{-3.4cm} +\addtolength{\evensidemargin}{-3.4cm} +\setlength\columnsep{2mm} + +\hoffset22.5pt + +\message{h=\the\textheight, w=\the\textwidth, s=\the\columnsep} + +\begin{document} + +{\footnotesize\small + +\def\bs{{\tt\char'134}} +\def\bsn{\bs} +\def\dhline{\hline\hline} +\def\newcol{ +\hline +\end{tabular} + +\begintab +\hline +} +%\let\blank\ \def\ {\blank\blank} + +\centerline{QUICK REFERENCE TABLE FOR {\bf PMX}, +Version 2.7, +March 2013~~~ +\hfill by Don Simons (dsimons@roadrunner.com)} + +%\begin{multicols}{2} +\null + + This table defines PMX command syntax. Each command starts with a +single character from a non-indented line, followed by characters from +subsequent indented lines, with no internal spaces. When characters +on the same line are separated by commas, only one can be used, unless +otherwise noted. Characters enclosed in brackets {\tt [~]} are optional, +but if one is used and the following line is indented and unbracketed, +then one character must be used from the unbracketed group. Several +characters, chosen from different lines that are indented the same +amount, may be used in sequence. {\it d1, d2} are single digits, so +for example {\it d1}{\tt[}{\it d2}{\tt]} is a one- or two-digit integer. +{\it i}, {\it i1}, or {\it i2} is any non-negative integer. +{\it x} is any non-negative decimal number. + +%\end{multicols} + +\begin{multicols}{2} +\begin{center} +%\def\begintab{\begin{tabular}{|p{3.0cm\tt}|p{5.5cm\hangindent5pt}|}} +\def\begintab{\begin{tabular}{|p{3.0cm\tt}|p{5.5cm\hangindent5pt}|}} +\begintab +\hline +a,b,c,d,e,f,g & Note name.\\ +\ [0,2,4,8,1,\break\rightline{3,6,9]} & If first digit, duration. + Must include if duration not yet set in current input block.\\ +\ [1,2,3,4,5,\break\rightline{6,7]} & If second digit, Octave number. + Must include if octave not yet set in current input block.\\ +\ [d] & Dot.\\ + \ \ [+.- {\it x}] & Vertical shift, \bsn{}internotes.\\ +\ \ \ [+.- {\it x}] & Horiz. shift, notehead widths.\\ +\ \ [d] & Double dot.\\ +\ [f,s,n] & Accidental. Repeat for double.\\ +\ \ [+,- {\it i} +,- {\it x}] & Vertical shift, \bsn{}internotes; + horiz. shift, notehead widths.\\ +\ \ [<,> {\it x}] & Horiz. shift, notehead widths.\\ +\ \ [i] & MIDI-only accidental.\\ +\ \ [c] & Cautionary accidental.\\ +\ [+,-] & Shift octave from default (default is within a 4th).\\ +\ [u,l] & Force stem direction.\\ +\ [a] & Prohibit beaming this note. If first note of xtuplet, prohibit + beaming the xtuplet.\\ +\ [r] & Right offset by one notehead.\\ +\ [e] & Left offset by one notehead.\\ +\ [.] & Dot shortcut: {\tt a8.b} = {\tt ad8 b1} \\ +\ [,] & 2:1 shortcut: {\tt a8,b} = {\tt a8 b1} \\ +\ [D] & In xtuplet note only, double duration. Reduce number of + notes in xtup by 1.\\ +\ [F] & As above, and add dot.\\ +\ [S{\it x}] & Shrink stem length by {\it x} \bs{\tt internote}.\\ +\ \ [:] & Make it sticky.\\ +\ [S:] & Shrink this stem, then turn off stem shrinkage.\\ +\ [Ao] & In main chord note, post accidentals in order entered.\\ +\newcol +~ & Note options, continued\\ +\ [x{\it i}] & An {\it i}-tuplet starts here. + Duration (already set) refers to total for xtuplet. + Next $i-1$ notes or rests are in + xtuplet. They must have no duration number; may have + octave number or {\tt d} for dot.\\ +\ \ [d] & Dot first xtup note, halve next.\\ +\ \ [n] & Fine-tune printed number. \\ +\ \ \ (\it{blank}) & Don't print number. \\ +\ \ \ [f] & Flip vertical location. \\ +\ \ \ [{\it i}] & Replacement printed number. \\ +\ \ \ [+,- {\it i}] & Vertical shift, \bsn{}internotes.\\ +\ \ \ \ [+,- {\it x}] & Horiz. shift, notehead widths.\\ +\ \ \ [s] & Fine tune slope of bracket for non-beamed xtuplet.\\ +\ \ \ \ +,- {\it i} & Slope adjustment.\\ +\dhline +z & Chordal note. No duration allowed.\\ +\ a,b,c,d,e,f,g & Note name.\\ +\ \ [f,s,n] & Flat, sharp, natural. Repeat for double flat or sharp. + Shift options same as on main note.\\ +\ \ \ [A] & (Preceding a shift) Apply shift relative to PMX-computed one.\\ +\ \ [+,-] & Up or down one octave. + may use several in succession.\\ +\ \ [r,e] & Right or left offset by one notehead.\\ +\ \ [d] & Dot. Permitted but not required, unless dot is to + be shifted. \\ +\ \ \ [+,- {\it x}] & Vertical shift, \bsn{}internotes.\\ +\ \ \ \ [+,- {\it x}] & Horiz. shift, notehead widths.\\ +\newcol +r & Rest.\\ +\ [0,2,4,8,1,\break\rightline{3,6,9]} & Duration. + Must include if duration not yet set in current input block.\\ +\ [d] & Dot.\\ +\ [p] & Full-bar rest using 'Pause' symbol (no digit).\\ +\ [m{\it i}] & Multi-bar rest of {\it i} bars.\\ +\ [b] & Blank rest, not printed (this line of music + drops from sight).\\ +\ [o] & Suppress centering full-bar rest.\\ +\ [+,- {\it i}] & Raise/lower rest from middle line, \bsn{}internotes.\\ +\ [L] & With AK, align rest with note to left. \\ +\ [x{\it i}] & Start xtup. After above options. See description for + main note.\\ +\dhline +o & Ornament. Symbol comes after note.\\ +%\ t,m,x,+,u,p,\break\rightline{),-,>,\raise1pt\hbox{\^\ }.} +\ t,m,x,+,u,p,\break\rightline{(,),\_,.,>,\^\ } + & Shake, mordent, ``x", ``+", pizz., strong pizz., ``(" before + notehead, + ``)" after notehead, tenuto, stacc., sfz, duncecap\\ +\ c,b & Caesura, breath.\\ +\ \ [+,- {\it i}] & Vertical shift, \bs{\tt internote}.\\ +\ \ \ [+,- {\it x}] & Horiz. shift, notehead widths.\\ +\ f & Fermata. Default is up.\\ +\ \ [d] & Convert to down fermata. \\ +\ T,Tt & Trill ({\it tr}) with or without wavy line.\\ +\ \ [{\it x}] & Length to end of wavy line, \bsn{}noteskips. + Default is one \bsn{}noteskip. + Use {\tt oT0} for {\it tr} .\\ +\ g & Segno. Voice \#1 only.\\ +\ \ [[-]{\it d1}[{\it d1}]] & Offset of segno symbol in points.\\ +\ e & Editorial accidental. \\ +\ \ s,f,n & Sharp, flat, natural. \\ +\ \ \ [?] & Editorial accidental is dubious. \\ +\ \ ? & Text is dubious. \\ +\ [+,- {\it i}] & (After~setting~ornament~type)\break Raise/lower by + {\it i} \bsn{}internotes from default.\\ +\ [:] & Repeat toggle. Must come last. First instance, after setting + ornament type, gives all later notes same ornament, until + {\tt o:} shuts it off. \\ +\newcol +G & Grace note group.\\ +\ [{\it i}] & Number of notes in group. Not needed if 1. + If {\tt>}1, next $i-1$ notes are in grace.\\ +\ [s] & Slur to/from main note.\\ +\ [m {\it d1}] & Multiplicity (number of flags or beams). Default is 1.\\ +\ [x] & Slash. Single grace only. \\ +\ [l,u] & Forced stem direction.\\ +\ [A,W] & Put grace just after main note, or shifted as far + right as possible.\\ +\ [X{\it x}] & Gap to main note, notehead widths. \\ +\ ({\it first note}) & Must follow above options. + Use same symbols as normal note.\\ +\dhline +s,t,) & Slur toggle. Place after note. If {\tt Ap} is on, {\tt t} causes + true tie.\\ +( & Placed before note, same as {\tt s} placed after. \\ +\ [{\it c}] & Optional ID code, {\tt 1-9} or {\tt A-Z} . Must be first + after {\tt s,t,(,)} .\\ +\ [u,d,l] & Force slur direction. Only allowed at slur start.\\ +\ [t] & Position slur end as tie rather than slur. With postscript + slurs, print a true tie.\\ +\ [b] & Dotted slur.\\ +\ [+,- {\it i}] & Raise/lower start/end of slur, \bsn{}internotes.\\ +\ \ [+,- {\it x}] & Horizontal shift start/end of slur, notehead widths. \\ +\ \ \ [+,- {\it i}] & Mid-height alteration, nonzero, only on termination.\\ +\ \ \ \ [:{\it d1d2}] & Alter starting and ending slope, 1-7.\\ +\ [f,n,h,H,HH] & Flatten, normalize, or increase curvature. For font-based slurs, only allowed + on termination. For Type K linebreak slurs, applies to first segment if on start, + second if on end.\\ +\ [s +,- {\it i}] & On start of a line-breaking type K slur or tie, vertical adjustment + of end of first segment.\\ +\ \ +,- {\it x} & Horizontal tweak of end of first segment.\\ +\ \ \ [+,- {\it i}] & Vertical adjustment of start of second segment.\\ +\ \ \ \ +,- {\it x} & Horizontal tweak of start of second segment.\\ +\ [p] & Local change in postscript slur or tie adjustment.\\ +\ \ +,- & Turn on or off automatic adjustment.\\ +\ \ \ s,t & Adjust slur or tie.\\ +\newcol +A & Miscellaneous controls. + Only at start of first block except {\tt i} , {\tt I}\\ +\ [i,I {\it x}] & Factor on \bs{\tt interstaff}\\ +\ [d] & Lower dots in lower voice of 2 on a staff\\ +\ [a{\it x}] & Change afterruleskip to {\it x} \bs{\tt elemskip}s. Default + is 1.\\ +\ [b,s] & Force big or small accidentals.\\ +\ [r] & Relative accidentals. Must be set if transposing.\\ +\ [e] & Equalize inter-system spacing.\\ +\ [S] & Make some staves small.\\ +\ \ {\it c1c2...} & A string of specifiers {\tt 0} (normal); {\tt -,s} (small); + {\tt t} (tiny); one for each staff.\\ +\ [v] & Toggles vshrink (initially on), which collapses pages vertically + when computed \bs{\tt interstaff} exceeds 20.\\ +\ [N] & User-defined part file name.\\ +\ \ {\it i1}"{\it name1}" & Base name to use in part {\it i1}.\\ +\ \ \ [{\it i2}"{\it name2}"] & Base name to use in part {\it i2}.\\ +\ \ \ \ [...] & Continue with other parts as desired.\\ +\ [T] & Use Col. S's broken brackets for non-beamed xtups.\\ +\ [p] & Activate postscript slurs.\\ +\ \ l & Activate special adjustments for line-breaking slurs and ties.\\ +\ \ h & Input Type K postscript header at start of every page, so pages can be + separated e.g. with dviselec.\\ +\ \ [+,-] & Turn on or off global slur or tie adjustments, or halfties.\\ +\ \ \ s,t,h,c & Switch slur, tie, halftie, or ratchet curvature.\\ +\ [R] & Read in normal include file.\\ +\ \ {\it filename} & File name, may include path.\\ +\ [K] & Activate special rules for rest positions in 2-staff keyboard scores.\\ +\dhline +\ [cl,c4] & Set vert. and horiz. page sizes and offsets for letter or a4 paper.\\ + + +B & Toggles default stem direction for middle line of bass clef. + (intial direction is up).\\ +\dhline +C & Clef change.\\ +\hbox{\ t,s,m,a,n,r,}\hbox{\ b,f or 0-7} & New clef. ({\bf t}reble, {\bf s}oprano, + {\bf m}ezzo-soprano, {\bf a}lto, te{\bf n}or, ba{\bf r}itone, + {\bf b}ass, {\bf F}rench violin).\\ +\newcol +D & Dynamics.\\ +\ p,pp,...,ffff & Pre-defined standard dynamics.\\ +\ "{\it text}" & Any text string.\\ +\ <.> & Hairpin toggles.\\ +\ \ [+,- {\it n }] & Vertical shift from default, \bs{\tt internote}s.\\ +\ \ \ [+,- {\it n }] & Horizontal shift from default, notehead widths.\\ +\dhline +F & Cancels figures in bass line + (use with {\tt \%1} in score file + to make a bass part with no figures).\\ +\dhline +h,w & If followed by number, page height or width. + Only at start of first input block.\\ +\ {\it x} & Page height or width.\\ +\ \ [i,m,p] & Inches, mm, points. Default is points.\\ +\dhline +h & If followed by blank or {\tt [+,-]}, heading. + Next input line will print above top staff.\\ +\ [+,- {\it i}] & Alter height from default, \bs{\tt internote} \\ +\dhline +I & MIDI controls. Only at start of an input block.\\ +\ [t{\it x}] & Set tempo to {\it x} beats per minute.\\ +\ [p{\it x}] & Insert a pause of {\it x} quarter notes.\\ +\ [i{\it i1i2...in}] & Specify {\tt noinst} MIDI instruments. {\it i1,i2...in} + are integers between 1 and 128 or 2-letter abbreviations. + Consecutive integers must be separated with {\tt ":"}.\\ +\ [v{\it i1}:{\it i2}:...{\it in}] & Specify {\tt noinst} velocities + (volumes), 1$\leq${\it i}$\leq$128. \\ +\ [b{\it i1}:{\it i2}:...{\it in}] & Specify {\tt noinst} balances + 1$\leq${\it i}$\leq$128, 64=center. \\ +\ [T] & MIDI-only transposition.\\ +\ \ +,- {\it i1} +,- {\it i2} ... +,- {\it in} & Amounts of transpositions in + \bs{\tt internote}s, {\tt noinst} values.\\ +\ [g{\it i}] & Internote gap in midi tics. Default = 10\\ +\ [MR{\it i}] & Start recording macro {\it i}.\\ +\ [M] & Stop recording.\\ +\ [MP{\it i}] & Playback (insert) macro {\it i}.\\ +\dhline +K & Key signature change and/or transposition.\\ +\ [n] & Suppress printing naturals.\\ +\ [i {\it i}] & Applies only to instrument {\it i}.\\ +\ +,- {\it i} & Amount of transposition in \bsn{}internotes. Use {\tt-0} to transpose + by 1/2 step to same-name key.\\ +\ \ +,- {\it i} & New key signature.\\ +\ \ \ [i {\it i}]... & Applies to another instrument {\it i}.\\ +\newcol +l & Next input line is a text string + to appear below top staff.\\ +\dhline +L{\it i} & Force a line break at line {\it i}. Voice \#1 only. Start of + block only.\\ +\ [P{\it i}] & Force a page break at page {\it i}.\\ +\ [M] & Movement break. Must follow {\tt P} if present. \\ +\ \ [+{\it i}] & Extra vertical space, \bs{\tt internote}. \\ +\ \ [i{\it x}] & New indent, decimal fraction of line width.\\ +\ \ [c] & Continue bar numbering, do not reset.\\ +\ \ [r +,-] & Force or suppress reprinting instrument names.\\ +\ \ [n{\it i}] & Change to {\it i} instruments.\\ +\ \ \ {\it d1d2...di} & Numbers of instruments. Precede 2-digit numbers with {\tt :}\\ +\ \ \ \ {\it c1c2...ck} & Clef symbols. Enter one for + every staff in new lineup.\\ +\dhline +m & Meter change. Voice \#1 only. Start of input block only.\\ +\ o,{\it d1}[{\it d2}] & True numerator of meter. + Use {\tt o} if full value is exactly 1. + If {\it d1}=1, numerator is 10+{\it d2}.\\ +\ \ {\it d1}[{\it d2}] & True denominator.\\ +\ \ \ o,{\it d1}[{\it d2}] & Printed numerator of meter. Use {\tt o} as above.\\ +\ \ \ \ {\it d1}[{\it d2}] & Printed denominator.\\ +\ {\it d1}[{\it d2}]/ & (Alternate syntax) true numer-ator \\ +\ \ {\it d1}[{\it d2}]/ & true denominator \\ +\ \ \ {\it d1}[{\it d2}]/ & printed numerator \\ +\ \ \ \ {\it d1}[{\it d2}] & printed denominator \\ +\dhline +M & Macro. If alone, ends recording or saving.\\ +\ [R,S,P] & Record (store and execute), save (store but do not execute), + or playback. \\ +\ \ {\it i} & Macro ID number, from 1 to 20. \\ +\dhline +P & Start page numbering in this page. Voice \#1 only. + Start of input block only.\\ +\ [{\it i}] & Starting page number. Default is 1.\\ +\ [r,l] & Margin for starting page number. Default is 'r'.\\ +\ [c] & Centered header on each page. Must be last option in symbol. + Default text is instrument name \\ +\ \ [{\it text}] & Text with no blanks \\ +\ \ ["{\it text}"] & Text with blanks \\ +\newcol +R & Repeat or doublebar. Voice \#1 only. + Doublebars at start of bar only.\\ +\ l,r,lr,d,D,dl & Left repeat, right repeat, l-r rpt, doublebar, doubleBAR, + doublebar-left repeat.\\ +\ z & Blank barline at next system break.\\ +\ b & Single bar (end of movement or piece).\\ +\dhline +S{\it i} & Reset total number of systems to {\it i}. + Only at start of first input block. + Only useful with \bs{\tt \%}{\it j} for automatically + generated parts.\\ +\ [P{\it i}] & Force total number of pages to be {\it i}.\\ +\ [m{\it i}] & Change musicsize to {\it i}.\\ +\dhline +T & Title string. Only at start of first input block.\\ +\ t[{\it d1}[{\it d2}]],i,c & Title of piece (centered), instrument (left + justified), or composer (right justified). Following line + is the text. + {\tt Tt} may be followed by a number (\bsn{}internotes) to add + vertical space below entire title block. + {\tt Tt} must come after {\tt Ti} and {\tt Tc} for this to work.\\ +{\it text}\bs\bs{\it text} & Make a line break in the title string.\\ +\dhline +V & Toggle for Volta. Voice \#1 only. Start of bar only. + For scor2prt, only allowed one per input block, + and it must come at start of block.\\ +\ [{\it text}] & Text for start of volta. May not be ``b" or ``x".\\ +\ b,x & At end of volta, boxed end or horizontal (no box).\\ +\dhline +W & Set new minimum horizontal space between noteheads.\\ +\ . & Decimal point (required).\\ +\ \ {\it d1} & Tenths of notehead width. Default is 3.\\ +\dhline +x & Floating figure (offset to right).\\ +\ {\it d1} & Number of note-length units of offset.\\ +\ \ {\it d2} & Note-length unit. Same code as for note durations.\\ +\ \ \ 2,3,\dots,9,\break\rightline{\#,-,n,0{\it d1}} + & Characters for floating figure, + arranged as in normal figure.\\ +\newcol +X & Shift or insert hardspace. \\ +\ [-]{\it x} & Distance. Default units are notehead widths.\\ +\ \ [{\tt p}] & Units are points.\\ +\ [:] & Begin shift (if number\break also present), end shift + (if no number),\\ +\ [S] & Single-note shift ({\tt S}). \\ +\ [P] & Use only in part, not score. \\ +\ [B] & Use in both score and part. \\ +\dhline +2,3,\dots,9,\#,-,n & Normal figure. + Combine characters as needed. See manual.\\ +0 {\rm (zero)} & Continuation figure.\\ +\ {\it x} & Length in \bsn{}internotes.\\ +\_ {\rm (underscore)} & Placeholder figure, to lower the next one. \\ +\ [+{\it i}] & In any figure, raise by {\it i}~\bs internotes. \\ +\ [s] & (With 2,4,5,6,9) add slash. Must have font cmrj. \\ +\dhline +[ & Start a forced beam.\\ +\ [j] & Continue an existing staff-\break jumping beam.\\ +\ [u,l] & Direction of forced beam.\\ +\ [f] & Flip beam direction.\\ +\ [m {\it d1}] & Forced multiplicity. {\it d1} = 1 - 4. \\ +\ [h] & Force horizontal beam (zero slope).\\ +\ [:] & After this forced beam, continue forced beaming over the + same interval until next explicit forced beam or end of + input block.\\ +\ [+,- {\it i}] & Vertical offset, \bsn{}internotes.\\ +\ \ [+,- {\it i}] & Change slope from default.\\ +\ \ \ [+,- {\it i}] & Distance to raise or lower beam, beam thk's.\\ +\dhline +] & End forced beam.\\ +\ [j] & Keep beam open, prepare to jump to other staff \\ +\dhline +][ & Between two notes in a forced beam, + decrease multiplicity to 1, then immediately increase. + Treated as a single symbol, set off by spaces.\\ +\dhline +]-[ & Between two notes in forced beam, end one segment and + start next of a single-slope beam group\\ +\dhline +( & Placed before a note, equivalent to {\tt s} after note. \\ +) & Equivalent to {\tt s} . \\ +\newcol +\{ & Placed before a note, equivalent to {\tt t} after note. \\ +\} & Equivalent to {\tt t} . \\ +\dhline +? & Arpeggio start/stop. Comes after note. \\ +\ [-{\it x}] & Shift left by {\it x} notehead widths. \\ +\dhline +\bs,\bs\bs,\bs\bs\bs & Start a literal \TeX~string before + next note, before \bsn{}startmuflex, or before + first \bsn{}notes group of current input block.\\ +\ {\it Text}\bs & TeX string and terminator. + May have more than one TeX command, strung end-to-end.\\ +--- (\rm 3 minus's) & Toggle for multiline \TeX\ block. Must start on first + line. All lines until next {\tt ---} will be copied verbatim + to top of \TeX\ file.\\ +\dhline +[|] & Bar line. Only used for checking, except required after + end-of-bar inserted hardspace.\\ +\dhline +/ & Terminate input for a staff in this input block.\\ +\dhline +// & Terminate first line of music on this staff for this input + block, start a second line of music on same staff.\\ +\dhline +\% & Comment line.\\ +\ [{\it h}]{\it text} & Scor2prt will put {\it text} + into the part whose hexadecimal number is {\it h}.\\ +\ [!]{\it text} & {\it text} + will be put in all parts by scor2prt.\\ +\ [\%] & Following line will be ignored by scor2prt.\\ +\dhline +.\break\null\ {\it note command} & Detatched dot-form shortcut.\break Note will have + 1/3 duration of prior note. See note name command.\\ +\dhline +,\break\null\ {\it note command} & Detatched 2:1 shortcut. Note will have + 1/2 duration of prior note. See note name command.\\ +\hline +\end{tabular} +\end{center} +\end{multicols} +} +\end{document} diff --git a/Master/texmf-dist/doc/generic/pmx/scor2prt.html b/Master/texmf-dist/doc/generic/pmx/scor2prt.html deleted file mode 100644 index 279af226cd9..00000000000 --- a/Master/texmf-dist/doc/generic/pmx/scor2prt.html +++ /dev/null @@ -1,55 +0,0 @@ -Content-type: text/html - -Manpage of scor2prt - -

    scor2prt

    -Section: scor2prt Manual Page (1)
    Updated: 5 March 2012
    Index -Return to Main Contents
    - -  -

    NAME

    - -scor2prt - source-parts separation program for pmx, a MusiXTeX preprocessor -  -

    SYNOPSIS

    - -scor2prt - -basename[.pmx] - -  -

    DESCRIPTION

    - -scor2prt is part of pmx(1), a preprocessor for MusiXTeX. It can automatically -create parts from a score by generating a set of .pmx files, one for each part, -from a single .pmx file for the score. The appearance of the parts can be -controlled by special commands in the main file. Read the PMX Manual for more -information about that. -  -

    SEE ALSO

    - -pmx(1), pmxab(1), musixtex(1), PMX Manual -  -

    AUTHORS

    - -PMX was written by Don Simons <dsimons@roadrunner.com>. -This manual page was written by Roland Stigge <stigge@antcom.de> for the Debian -project and revised by Bob Tennent <rdt@cs.queensu.ca>. -

    - -


    - 

    Index

    -
    -
    NAME
    -
    SYNOPSIS
    -
    DESCRIPTION
    -
    SEE ALSO
    -
    AUTHORS
    -
    -
    -This document was created by -man2html, -using the manual pages.
    -Time: 08:48:15 GMT, September 14, 2012 - - diff --git a/Master/texmf-dist/doc/man/man1/pmx2pdf.1 b/Master/texmf-dist/doc/man/man1/pmx2pdf.1 index 9ffcf094377..6b9f17fa491 100644 --- a/Master/texmf-dist/doc/man/man1/pmx2pdf.1 +++ b/Master/texmf-dist/doc/man/man1/pmx2pdf.1 @@ -93,9 +93,7 @@ Options affect processing of all succeeding PMX files unless changed by another .BR dvips (1), .BR ps2pdf (1). .br -pmx260.pdf -.br -pmxccn.pdf +pmx270.pdf .SH AUTHOR This manual page was written by Bob Tennent . diff --git a/Master/texmf-dist/doc/man/man1/pmx2pdf.man1.pdf b/Master/texmf-dist/doc/man/man1/pmx2pdf.man1.pdf index a041ad546da..53be38cb849 100644 Binary files a/Master/texmf-dist/doc/man/man1/pmx2pdf.man1.pdf and b/Master/texmf-dist/doc/man/man1/pmx2pdf.man1.pdf differ diff --git a/Master/texmf-dist/tex/generic/pmx/pmx.tex b/Master/texmf-dist/tex/generic/pmx/pmx.tex index 5d7083a455e..80131a498cc 100644 --- a/Master/texmf-dist/tex/generic/pmx/pmx.tex +++ b/Master/texmf-dist/tex/generic/pmx/pmx.tex @@ -3,8 +3,11 @@ %% pmx.tex %% %% %% %%%%%%%%%%%%%%%%%%%%%%% -\def\pmxversion{2.614}\def\pmxdate{17 July 11} +\def\pmxversion{2.7}\def\pmxdate{3 April 13} +% 2.619 At movement break, directly set \nbinstruments in \newmovement; +% probably don't need \newnoi any more. +% (2.619a) Added \resetlyrics in \newmovement. % 2.614 Comment out definitions of some dotted rests, since either in % musixtex.tex or not needed. % Modified for two figured bass lines 081115 @@ -545,7 +548,8 @@ depth \h@lf\pcil width \razclef\kern-\h@lf\razclef\kern-\h@lf\pcil\kern-.1pt % % New Movement Macro % -\def\newmovement#1#2{\let\holdstop\stoppiece\let\holdcont\contpiece% +%\def\newmovement#1#2{\let\holdstop\stoppiece\let\holdcont\contpiece% +\def\newmovement#1#2#3{\let\holdstop\stoppiece\let\holdcont\contpiece% \ifcase#2\def\endset{\setdoubleBAR}\or\def\endset{\setdoublebar}\or% %\def\endset{\setrightrepeat}\or\def\endset{\empty}\fi% \def\endset{\setrightrepeat}\or\def\endset{\empty}% @@ -564,7 +568,14 @@ depth \h@lf\pcil width \razclef\kern-\h@lf\razclef\kern-\h@lf\pcil\kern-.1pt % \vskip#1\internote% \let\stoppiece\holdstop}% - \def\contpiece{\startpiece\addspace\afterruleskip\let\contpiece\holdcont}% +% \def\contpiece{ + \def\contpiece{\def\nbinstruments{#3}% <-- assignment inserted here +% +% Added 120904 per Rainer's suggestion to fix problem with M-Tx at m-break. +% +\ifx\resetlyrics\undefined\else\resetlyrics\fi% +% +\startpiece\addspace\afterruleskip\let\contpiece\holdcont}% }% % % Redefinitions for moving dots vertically by x\interligne and @@ -612,6 +623,7 @@ depth \h@lf\pcil width \razclef\kern-\h@lf\razclef\kern-\h@lf\pcil\kern-.1pt \def\bartext#1#2{\sk\loffset{.3}{\zcharnote{#1}{\llap{#2}}}\bsk} % % Macro used before movement break to change # of instruments. +% 120818 Set \nbinstruments in \newmovement; probably don't need this any more. % \def\newnoi#1{\let\atnb\atnextbar\def\atnextbar{\atnb\def\nbinstruments{#1}}}% % diff --git a/Master/tlpkg/libexec/ctan2tds b/Master/tlpkg/libexec/ctan2tds index 3355ca94251..18405e377b7 100755 --- a/Master/tlpkg/libexec/ctan2tds +++ b/Master/tlpkg/libexec/ctan2tds @@ -748,7 +748,6 @@ chomp ($Build = `cd $Master/../Build/source && pwd`); 'pitthesis', "die 'skipping, noinfo license", 'pl', "die 'skipping, not ready, cf. cc-pl, sorry", 'pl-qx', "&MAKEplqx", - 'pmx', "die 'skipping until 2013, requires binary update'", 'pmxchords', "die 'skipping, problematic musixtex scripts'", 'pointRuler', "die 'skipping, requires compilation'", 'poltawski', "&MAKEcopy", @@ -1086,7 +1085,7 @@ chomp ($Build = `cd $Master/../Build/source && pwd`); 'mp3d' => '&PREHOOK_mp3d', 'pgf-blur' => '&PREHOOK_pgfblur', 'pictex' => '&PREHOOK_pictex', - 'pmx' => '&PREHOOK_pmx', + 'pmxx' => '&PREHOOK_pmx', 'skb' => '&PREHOOK_flatten1', 'skmath' => '&PREHOOK_savepdf', 'skrapport' => '&PREHOOK_savepdf', -- cgit v1.2.3