From e0cf1c6f0003d2d2504e786112d1f3132d7ab17a Mon Sep 17 00:00:00 2001 From: Karl Berry Date: Tue, 3 Mar 2020 23:20:40 +0000 Subject: pmx now that we have new binaries git-svn-id: svn://tug.org/texlive/trunk@54056 c570f23f-e606-0410-a88d-b1316a301751 --- Master/texmf-dist/doc/generic/pmx/ChangeLog | 713 +++++ Master/texmf-dist/doc/generic/pmx/README | 20 +- Master/texmf-dist/doc/generic/pmx/accents.eps | 1145 ++++++++ .../texmf-dist/doc/generic/pmx/examples/prad5x.pmx | 104 + Master/texmf-dist/doc/generic/pmx/gapxmpl.eps | 1243 +++++++++ Master/texmf-dist/doc/generic/pmx/pmx-install.pdf | Bin 90847 -> 108463 bytes Master/texmf-dist/doc/generic/pmx/pmx-install.tex | 24 +- Master/texmf-dist/doc/generic/pmx/pmx25-284.html | 384 --- Master/texmf-dist/doc/generic/pmx/pmx284.pdf | Bin 322439 -> 0 bytes Master/texmf-dist/doc/generic/pmx/pmx284.tex | 2759 ------------------ Master/texmf-dist/doc/generic/pmx/pmx294.pdf | Bin 0 -> 345417 bytes Master/texmf-dist/doc/generic/pmx/pmx294.tex | 2948 ++++++++++++++++++++ Master/texmf-dist/doc/generic/pmx/ref284.pdf | Bin 64109 -> 0 bytes Master/texmf-dist/doc/generic/pmx/ref284.tex | 480 ---- Master/texmf-dist/doc/generic/pmx/ref294.pdf | Bin 0 -> 70133 bytes Master/texmf-dist/doc/generic/pmx/ref294.tex | 487 ++++ Master/texmf-dist/doc/generic/pmx/sjb291.eps | 1208 ++++++++ Master/texmf-dist/doc/generic/pmx/tremxmpl4.eps | 972 +++++++ Master/texmf-dist/doc/man/man1/pmxab.man1.pdf | Bin 15273 -> 15272 bytes Master/texmf-dist/doc/man/man1/scor2prt.man1.pdf | Bin 14692 -> 14661 bytes Master/texmf-dist/scripts/pmx/pmx2pdf.lua | 5 - Master/texmf-dist/tex/generic/pmx/pmx.tex | 19 +- Master/tlpkg/libexec/ctan2tds | 19 +- 23 files changed, 8873 insertions(+), 3657 deletions(-) create mode 100644 Master/texmf-dist/doc/generic/pmx/ChangeLog create mode 100644 Master/texmf-dist/doc/generic/pmx/accents.eps create mode 100644 Master/texmf-dist/doc/generic/pmx/examples/prad5x.pmx create mode 100644 Master/texmf-dist/doc/generic/pmx/gapxmpl.eps delete mode 100644 Master/texmf-dist/doc/generic/pmx/pmx25-284.html delete mode 100644 Master/texmf-dist/doc/generic/pmx/pmx284.pdf delete mode 100644 Master/texmf-dist/doc/generic/pmx/pmx284.tex create mode 100644 Master/texmf-dist/doc/generic/pmx/pmx294.pdf create mode 100644 Master/texmf-dist/doc/generic/pmx/pmx294.tex delete mode 100644 Master/texmf-dist/doc/generic/pmx/ref284.pdf delete mode 100644 Master/texmf-dist/doc/generic/pmx/ref284.tex create mode 100644 Master/texmf-dist/doc/generic/pmx/ref294.pdf create mode 100644 Master/texmf-dist/doc/generic/pmx/ref294.tex create mode 100644 Master/texmf-dist/doc/generic/pmx/sjb291.eps create mode 100644 Master/texmf-dist/doc/generic/pmx/tremxmpl4.eps delete mode 100755 Master/texmf-dist/scripts/pmx/pmx2pdf.lua diff --git a/Master/texmf-dist/doc/generic/pmx/ChangeLog b/Master/texmf-dist/doc/generic/pmx/ChangeLog new file mode 100644 index 00000000000..6715e9b1e36 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pmx/ChangeLog @@ -0,0 +1,713 @@ +2.94 + Allow moving dots on main and chord note in 2-note termolos + Add definitions of \hbp and \hbpp to pmx.tex +2.91 + Tweak: insert \stdstemfalse before every user-shortened or lengthened + stem. + This cancels defaul extensions to middle line and also (with 'L') allows + stems that are longer than 4.66 but still don't reach middle line. + Allow alteration of number height in multibar rest, option n. + Fix bug introduced in 2.89 so that the "o" in "mo800" is now OK. +2.90 + Many tweaks to allow gaps at end or middle of a system using + L[n]S[x] and LC[y]. New pmx.tex. +2.88 + Comment out print*,"Changed pathname to..." since it was going + iteration when optimizing linebreaks with the undocumented option Ao. + Add nv back in as argument for getmidi, so loop transferring data + from midivel to midvelc can be executed. This corrects bug and + allows per-instrument change in midi velocities at the start + of any block + Add subroutine inst2chan to transfer midi data as noted above. Works with + Iv but buggy when used with IT and Ib +2.87 + Allow changes to and from octave treble clef. Instrument with it + must only have one staff. + Some fixes for beam multiplicity changes at staff jumps. Must still + use inline for mult. increase at downward staff jump. See sjb.pmx. +2.84 + Bug fix: dots in chordal seconds + Bug fix: Initialize ihornb for non-beamed, down xtup + Bug fix: When using "AT" with 2-note x3c rD. +2.83 + Fix problems when changing to or from octave treble clef. + Fix beaming (or not) and number location for xtups with + multiple rests. Still some problems with number height but + can be band-aided with number height tweak option. + Tweak error messages for options on "R" command. + Allow forced beam height and slope tweaks with 2-note tremolos + Allow chordal note with 2-note tremolos, adding dots as needed. + Fix call to ncmid in beamstrt when setting start height for beam of + 2-note trem, by changing arg from ivx to iv +2.82 + bugfix: beams with rests, not confused with xtups. + x option after slur index to allow slurs to go from one voice to another. + x option also for ties +2.81 + Allow string of rests to end xtup + in chordal half-note 2-note tremolo, make chord notes open. +2.80 + Add 2-note tremolos +2.78 + Expand bufq to 131072 bytes + Expand maxblks tp 9600 + Allow up to 75 pages + Index postscript hairpins from 1 up instead of by voice #. + Add option 'o' to forced beam for open notehead (\hb); set ipl(3) + Add option T[n], n=1,2,3 for single stem tremolo +2.77 + Enable AV+/-x+/-y to add vskip bigh before or after \eject +2.76 +2.75 + Bugfix: unbeamed xtups with dots: in beamn1 and beamid allow dotted 16th, and + 2 or 3 flags on shortened note. +2.74 + Bugfix: allow "0" as argument of @ command on lyrics string. + Check for and allow "\ in centered page headings with P command. + Check for and allow "\ in text dynamics with D command. + For lyrics string starting in xtuplet, insert check for inputting musixlyr. + For staff-crossing beamed xtuplet chords, if 2nd segment of a joined beam + starts with a blank rest, put '\sk' into the TeX. + To enable high-to-both beamed etup staff-crossing chord, for blank + rest at start of forced beam, shift \sk's from before to after \ib..; + so \ib is at start and note in upper voice has a beam to connect to. + Expand range of vertical xtup number shift, now stored in mult(16-22) + Check for and allow \" within lyrics strings, for umlauts. +2.73 (160121) + Dirk's "..." command, to convert "text" into \pmxlyr{text}\ and insert as + inline TeX. Replace all '~' inside "..." and not preceded with '\', by + '\lk '. Right after 2nd ", replace @[a,b][+,-]n with \at{[a,b][+,-]n}\ + Include definitions of \ly and \at in pmx.tex (2 Feb 16). After first ", + add (as type 2 string) '\\input musixlyr \' + After inputting pathname, change any '\' to '/', for Linux compatibility. +2.72 (160110) + Really finalize \mbrest...go back to 3 args to deal with clef changes. + Fine tune centered whole bar rests to deal with clef changes + Fix bug in wsclef when >1 staff per instrument, since \setclef + needs to know instrument and specify clefs on all staves for that + instrument. Ones that were not changed by user will not be printed, + and will be kept the same as before. + Fix bug with arpegii from one voice to another in same staff. +2.71 (151226) + Finalize mbrest mods +2.705 + Fix error message +2.704 (140614) + Octave treble clef + Make horizontal ornament shift (ornhshft) floating +2.703 (140323) + Option v[-]n at end of any figure will alter figdrop for rest of system +2.702 + Stem slurs. Only for ps, assume no other pos'n adjustments. Option "v" +2.701 + oC = coda (\code{10}) + Move iornq(29) (blank barline) to ipl(0) (changes in pmxb, getnote) + oG = new seqno + To do: fix grace note spacing problem (partially done) +2.622 + Redefine midtc(..) and miditran(..); clean up all transpositions/key changes + Kn[+/-...] \ignorenats at signature changes + Fix tie checks in doslur() and dopsslur() to subtract iTransAmt from nolevs + before checking and setting pitch levels levson() and levsoff() + Define midisig separately from isig. Put in common commidisig. + Use for explicit midi signature and for accid corrections to midi piches + in addmidi. +2.621 + Make keyboard rest option work in xtuplets. Created subroutine + chkkbdrests, modified make2bar to include calls to chkkbdrests as rqd. +2.620 + Allow user-defined rest height tweaks at start of beam. +2.619 + At movement break, change \nbinstruments in \newmovement macro; add + 3rd arg to \newmovement in pmx.tex; modify pmxb.for and getnote.for + to remove call to newnoi and change call to \newmovement +2.618 + Add option Ac[l,4] to set vert and horiz size and offsets to properly + center page for letter or a4 paper. +2.617 + In g1etnote, change if-check for note to use index(...) instead + of ichar(charq) since it was messing up gfortran optimizer + After pmxa, search for and remove penultimate line / + because it was screwing up linux-compiled versions + Bugfix: Increase dimension of kicrd from 7 to 10 in crdaccs(...) +2.616 (111110) + Allow hairpins to span multiple notes groups (gulps). +2.615+ (110810) + Fix midi when some instruments are transposed, by subtracting + iTransAmt(instno(iv)) from pitch values sent to via addmidi in + make2bar.for (for main notes) and docrd (for chord notes) +2.615 (110725) + Fig bug with size-setting (in topfile) when instrument has >1 staves +2.615 (110724) + Make AS[0|-|s|t]... really set sizes +2.614 + Mod notex.for to fix Terry's bug with raised dotted rests (caused + by double-hboxing). +2.613 + Bugfix: In pmxa, change "do while" limit to keep from overwriting instno. +2.612 + Enhance AS to allow s or t for smallsize or tinysize +2.611 + Error trap for "D" before any notes in a block. +2.610 + Instrument-wise key changes and transposition (incomplete) +2.603 + 101211 In getpmxmod.for, decreased nline by 2 to fix locating errors + following reading in an include file. + 101121 Added some error messages in g1etset.for setup data +2.602 + Correct slur indexing in linebreakslurs. + Account for comment lines in line count for error messages +2.601 + Bug fix: allow 24 slurs with graces +2.60 Changes made make it really big + increase mv (size of midi) ? Note: MIDI can't have >16 voices w/o + major reprogramming, and 16 may also be a problem (icmm) + nm=24 (voices) done + 24 slurs done + 24 simultaneous beams (Replace index 24 by 0, so get 0-23) + bufq*131072 (gfortran only) + getarg syntax (gfortran only) +2.523+ + Fix voice numbering for normal dynamics and text dynamics +2.523 + Version of bigpmx first posted to Hiroaki's web site. +2.522 + 5/26/10 Replace ipl bits 0-7 with ipl2, add new common for it. + With 2.521+ as starting version, incorporate bigpmx mods to allow 24 voices. + 5/13/10 Fix log2 function + 5/15/10 Fix bitwise storage for dynamics, fix segnoo string length. +2.521+ + 091025 Enable dotting 2nd part of linebreak slur or tie. + To adjust barno height due to linebreak slur, use \bnrs instead of + explicitly redefining \raisebarno (pmxb) +2.521 + Bugfix +2.520 + 090519 Enable ligfonts (special figured bass characters) +2.519 + Fix another bug which kept \sk from being output so misaligned some notes. +2.518 + Fix bugs: referencing fig data, char declaration for member of + common/comfig/ +2.517 + Allow figures in voice 1 + any one other. +2.516 + Allow figures in voice #2 +2.515+ to do: Change manual and activate rule against clef change in voice #2. +2.515 + 071222 Changes in getnote to allow auto forced beams to start anywhere. + 071206 In make2bar, shift fermataup7 to left over centered pause. + 070901 In doslur, check for nolev <=2 in case slur ends on rest in 2-line + staff (it was screwing up vertical justification). + n34 for tweaks to midi durations of quarter note septuplets. + To do: In ref250.tex, the tables where 's,t,)' is explained, the line + [+,- i] ... Vertical adjustment of the start of second segment + should it be replaced by + [s +,- i] ... Vertical adjustment of the start of second segment +2.514 + Changes in make2bar to get horizontal spacing right when normal grace + follows after grace + Changes in dograce to get octaves right for any material entered inside + \gaft, which shields transpose register changes from the outside world. +2.513 + In make1bar, near end, for forced beams starting with a rest, copy hgt and + slope tweaks to ALL notes after first, not just the second one, so if + there's more than one rest at start the tweaks are still observed. + In beamid and beamend, add stand-alone triply-flagged notes for xtups. +2.512 + Near end of pmxb, fix error trap to allow redundant 'RD' + Enable multiplicity down-up '][' within xtup. +2.511 + Introduce eskz2 for xtup #'s and bracket lengths, to remove bug caused by + adjusteskz as in bar 7 of barsant. +2.510a + Test: remove restriction on tempo changes in MIDI macros + Send to CM for beta testing. +2.509+ + To do: Correct manual on AS. "-" is for smaller staves. +2.510 + Forgot to declare litq, voltxtq as character in subroutine getgrace +2.509 + Corrected small bug in arpeggio shifting (ivx <= iv in call putarp) +2.508 + Allow graces in xtups. New subroutine getgrace. +2.507 + To do: Raise/lower figures. + To do: Add 24, 29 to list of musicsizes in manual + New sub adjusteskz to account for ask's when computing lengths of + brackets for unbeamed xtups, slopes and horizontal posn's of number + Bug fix: in beamn1, beamid, and beamend, allow unbeamed xtups w/ 2 flags + Add look-left option for keyboard rests, "L" in rest command, set iornq(30) +2.506 + Fix bug with AK, when simultaneous rests have same duration, use defaults. +2.505 + Keyboard rests AK +2.504 + Space after normal grace: option X[n] + Fixed og when nv .ne. noinst, by using sepsymq instead of '&' + (To do) length of xtup bracket when there is added non-collision space. + Trap musicsize if .ne. 16,20,24,29. +2.503 + Enable arpeggio left shift with ?-x + To do: In manual, arpeggio over 2 staves. + Allow musicsize of 24 and 29. Had to define meter font size explicitly, + also change font size for text dynamics, but not much else so far. + Bugfix in beamstrt, introduced in 2415, ip was changed before putxtn + was called, causing error in printing replacement number. +2.502 + Incorporate Dirk Laurie's patch to use { , } , for ties. + Figure height adjustment: append +[n] + Change ec font stuff in pmx.tex per Olivier Vogel's comment (CM email?) +2.501 + Readjust horizontal offset back to .8 in LineBreakTies + Fix zero-subscript (iudorn) in putorn +2.50 + Increase number of text-dynamics (dimension of txtdynq) per block + from 12 to 41. + Slur option n to override altered default curvature. + Allow default ps slur curvature tweaks with Ap+/-c +2.416 + Increase length of textdynq from 24 to 128 + (Todo) Add comment in manual about blank lines at end. + Configuration file: Define subroutine getpmxmod, check path in environment + variable pmxmoddir, check existence, read lines into bufq after setup. + Increase dimension on idynn in dodyn from 4 to 10 for max number + of marks in a bar + Increase allowable # of lines from 2000 to 4000. + (To do) Replace definition of \liftpausc per Olivier. + (To do) Fix extraneous error message if RD is placed at very end. +2.415 + Fix "AT" option: replace putxtn,topfile,beamstrt,beamid to use \xnumt + instead of redefining \xnum. Change font used to \smallfont (as for + normal xtups, + Allow slur to start on rest. +2.414 + Correct bug in crdacc when adding accidental to boundary causes number of + segments to decrease + Special rule for 3-accidental chords: If no 2nds, place them in order + top, bottom, middle. +2.413 + Correct bugs in chordal accidentals, related to left-shifted noteheads + (a) Special problems with downstem when main note needs shifting + (b) Assign 0 rank to boundary segs due to left-shifted noteheads +2.412 + Change default horiz shift of start of seg 2 of linebreak slurs: + -.7 for slurs, -1.2 for ties, + Use height of start of seg 1 slur itself for end of 1 and start of 2. +2.411 + "Apl" activates special treatment of linebreak slur/tie's; breaks all in 2. + "s" option in start of slur/tie as precursor to vert/horiz tweaks for end + of seg 1. of linebreak slur/tie, 2nd "s" for start of seg2. + With "Apl", curvature adjustments on starting slur command apply to seg 1, + those on ending command to seg 2. +2.410 + "AT" to allow Col. S.'s tuplet option. Simply input tuplet.tex and redefine + \xnum, \unbkt, \ovbkt. + "s" option in main xtup input after "x": slope tweak for bracket. mult(4) is + flag, mult(5-9) is tweak value+16 +2.409 + Bugfix in docrd for MIDI: Use original pitch in case main/chord were + switched due to 2nds. + Remove "o" from error message for "A" command. + New syntax: optional instrument number separator ":" in movement + break command to precede a 2-digit instrument. + Conditional output formats for \setname at movement break to allow + instrument numbers >9. + Bugfix in coding to raise barno due to slur over line break (pmxb) + Move date/version data statement in pmxab to a better place. +2.408 + Allow pnotes{x} when x>9.995 (mod is only to format stmt in make2bar). + Bug fix in \liftPAusep in notex.for and in pmx.tex + Character variables for version and date + For up-stem single graces slurred to down-stem, shift slur start left by + 0.8 so slur doesn't get too short. + Initialize and slide mult, same as other full-program variables in /all/. +2.407 + Allow AN[n]"[partname]" to be parsed by scor2prt as filename for part n, +2.406 + Alter PMX: put \dnstrut into \znotes in \starteq (for system spacing + equalization). + Put dimensions of double sharps and flats in crdacc (for chords). + Bugfix: Use sepsymq in LineBreakTies(..) instead of '&' + Use only first 4 bits of mult for multiplicity+8, so rest can be used + for other stuff. + Move stemlength stuff in nacc(27-30) to mult(27-30) to remove conflict. +2.405: Not published but saved for safety. + Option Aph to write \special{header=psslurs.pro} top of each page, so + dviselec will work OK. +2.404 + Allow slur to end on rest, but not start on a rest. Efaults height + of ending is default height of start (before any automatic or user- + defined djustments). User may adjust height as normal from default. +2.403 + Bugfix: turn off repeated beaming patterns.at end of non-last voice. +2.402 + Automatic repeated forced beams. Start with "[:" End with next explicit + forced beam or end of input block. + Increase # of forced beams per line of music per input block from 20 to 40 +2.401 + Optional K-Postscript Linebreak Ties, Apl. New subroutine LineBreakTies. + Makes 1st part normal shape, and starts 2nd part a little further left. + Enable arpeggios in xtuplets. Had to make time itar(narp) a real. +2.40 + Set up WrotePsslurDefaults (logical) so only write defaults on 1st Ap. + Fix non-ps-slur input to \midslur (third signed integer). Do not reverse + sign for down-slurs. +2.359 + Add error exit subroutine stop1 to make exit status g77-compatible.. + Absolute octave on xtup chord note was 2 octave too high, fixed in getnote + Fermata on vertically shifted rest: special trap in putorn() to set height. + Correct multiple grace note spacing for small staves (in dograce, + define wheadpt1 depending on staff size) +2.358 + Allow curvature corrections at start of postscript slur, in dopsslur() + Local slur options p[+|-][s|t] for [nos|s]luradjust,[not|t]ieadjust + Options for [Nos|S]luradjust,[Not|T]ieadjust,[noh|h]alfties: Ap[+|-][s|t|h] + Make t[ID] act like s[ID]t, most mods in spsslur(). + Add spsslur() to read in data for ps slurs, call from getnote. + In beamstrt, save args for SetupB in common comipb to save them for + 2nd call when xtup starts with rest + Add spacing for ornament ")" as if it were accidental, in make2bar(). + Horiz shift start and end of ps ties, dep. on stem dir'n, in dopsslur() + Horiz. shift start of ps grace slur, 2 places in dograce(). + Horiz shift end of grace slur in endslur() + Make st slurs into postscript ties. Separate subroutine dopsslur(), + Non-beamed xtup: "a" in 1st note or rest, before "x" (sets drawbm=.false.) + Allow two D"x" on same note. Introduced jtxtdyn1 in dodyn. +2.357a + Fix missing "end" in backfill.com, too-long lines in g1etnote, getnote +2.357 + Increase dimension for # of lit TeX strings from 52 to 83. + Allow blank rest in middle of xtuplet. Only mods in g*etnote(). +2.356 + Increased some dimensions from 30 to 40 to allow up to 40 pages. + In unbeamed xtups, "n" did not suppress bracket. Fixed in beamstrt(). + Fix parsing of "f,h,H,HH" in sslur. + Fix bug with cdot, note-level for slur termination (in getnote) +2.355 + Midi transposition: IT[+|-][n1][+|-][n2]...[+|-][n(noinst)], + n=# of half-steps. Restrict to mult. of 12 now, to avoid key-sig issues + Make midi recognize ps ties in doslur. + Correct ttieforsl so that it eats 2nd argument properly, using \zcharnote + to get octave right. +2.354 + With postscript slurs, make t-slurs real ties by inserting replacement + macros \tieforisu, etc, defined in pmx.tex + Check for open cresc or decresc at end of input block, using list[de]cresc + Hairpin syntax conditional on postscript slurs. Backup to fill in start + level, using new backfill(...). Separate height tweaks for + start and finish. +2.353 + K-0+n to transpose by half step (rather than just change key) + Allow "rm[n]" when nv>1. Require it in all parts. Just write a stack of + \mbrest's + Enable "Rz"; define \setzalaligne in pmx.tex. Special treatment at end + of input block before movement break, and at start of block after + movement break, using \newmovement rather than \setzalaligne, since + former already redefines \stoppiece. In second case, set rptfg2='z'. + Make clefq(nm) common between pmxb and getnote; change references in + getnote at 'M' to array elements, setting all new clefs as you go. +2.352 + Remove \parskip redefinition from pmx.tex; write it into TeX file when + "Ae" is invoked. + Ap to activate postscript slurs. Add macro \psforts to pmx.tex to redefine + \tslur in case \midslur was used. Allow slur inputs 'f','h','H','HH', + translate them thru mapping to (1,4,5,6) as \midslur params, then let + \psforts translate them back to ps slur macors. +2.351 + Number slurs from 0 up instead of 11 down, anticipating postscript slurs. + Write "\eightrm" instead of "\cmr8" for \figfont with small baseline size. + Increase length of basenameq to 44 characters everywhere. + Increase dimension of mcpitch (midi-chord-pitch) to 20. + Set default systems per page to 1 if nv>7 + In pmxb, move place where isystpg is reset to 0, so that \eject gets + written when there is just one system per page. +2.35 + Cautionary accidentals with 'c' anywhere in note symbol. + NEW pmx.tex with \resetsize to set size to normal or small depending on + current \internote. Used with new coding in dograce() to get right + new size in case user has \setsize'ed some lines to \smallvalue. For + \smallvalue-sized staves, redefine \tinynotesize to give 11-pt font. + Affects pmx.tex. + Continuation figure with fractional length. May now mix with other figures. + If another figure follow Cont-fig, separate with colon. +2.342 + Bugfix in getnote to recognize relative octave shift in grace at start of + input block. + In make2bar, initialize islhgt=0 earlier than before (possible solution + to Suse g77 compile problem that I could not reproduce).. + Bugfix in beamstrt & beamn1 for r2x6 c4D d d d +2.341 + Syntax check: Forced page break page number must be > than previous. + Bugfix: Define ivx when "sliding down" breath/caesure data in pmxb. +2.34 + New pmx.tex with redefined liftpausc + Bug fix with dotted, non-beamed xtups. +2.332 + Fix bugs in horizonal shifts, spacing, for accid's, graces, noteheads. + Allow arbitrary pos. input to W in g1etnote and getnote. +2.331 + Bug-fix in dodyn(..): typo on length of arg of txtdyn +2.33 + Caesura (oc), breath (ob). Set iornq(28), store rest of data in ibcdata() +2.321 + Rescale accidental shifts. Still use 7 bits but now map (0,127) + onto (-1.,5.35) + Fix ihornb bug in dodyn, seen with dynamics on lower-voice non-beamed xtups +2.32 (Noticed after posting) + Prohibit "/" as figure. +2.32 (Posted) + Tidied up accidentals in chords, do spacing. + Still to do: + check for "(" on chord notes in spacing algo + small accids + double accids + autoshift slurs +2.310 + Extra call to precrd ahead of spacing chk, and single-note crd/acc + shifts seem OK, but not multiple. crd/acc shifts not recorded 1st time. +2.309 + Alternate algo for accid shifts in chords. +2.308 + Auto horiz. notehead shifting added to precrd. +2.307 + Auto shifting of multiple accidentals in chords. + "Ao" in main chord note to keep accidentals in order. Set nacc(28). + If there are any manual main or chord note shifts, then + If any manual shift is preceded by "A" then + 1. Auto-shifting proceeds + 2. "A"-shifts add to autoshifts + 3. non-"A" shifts are ignored! + Else (>0 man shifts, none has "A") + No auto-ordering, No autoshifts, + End if + End if +2.306 + Initialize legacy note level to middle C in case user forgets to set + octave. + Shift xtup note? + Shift in elemskips rather than noteheads? +2.305 + Stop pmxb from multiple endvolta's at start of new page. +2.304 + "Sx" in a note means shorten stemlength by x \internotes. "Sx:" turn on + for multiple notes in the voice, "S:" last shortened note. +2.303 + vshrink stuff all OK? Description is in pmxb. +2.302 + Toggle vshrink with "Av". vshrink normally kicks in when \interstaff + hits 20. This still needs work. + Add " /" to last line if last char is not % or /. +2.301 + Check in beamn1 for single note before multiplicity down-up. + allow '.PMX' as well as '.pmx' +2.299 + Correct typo in pmxb involving PMXbarnotrue. + Replacement printed number for xtup: Unsigned integer after 'n' after 'x' + Minor upgrade parsing xtuplet options 'x...' + Correct dimension of nxtinbm in make2bar. +2.298 + Account for doubled xtup notes in subroutine getx (user-defined spaces), + by adding ndoub as an argument.. +2.297 + Created and solved compiler problem. Put drawbm(NM) in its own common. + Add new def'ns [\a|PA]usc, \lift[pa|PA]usc to pmx.tex, use them in make2bar + when \centerbar is used. + Modify \mbrest & \CenterBar in pmx.tex to use \volta@endcor etc. Have PMX + use right 2nd and 3rd args for \mbrest when key, meter, or clef changes. +2.296 + Correct printed numbers for forced beams with multiple xtups. For each beam + make list in setupb by voice of eloff (h-offset) and mtupv (printed #) + Increase lengths of jobname and infileq by 20 characters + Enable whole notes and breves as 1st or last note of xtup in beamn1 and + beamend, and wholes in beamid. +2.295 + Midi balance Ib[n1]:[n2]:...[nn] + Single-slope beam groups [...]-[...] + Trap "i" unless after accidental (main notes, xtups, chord notes) +2.294 + Unequal xtups with "D" to double a note in an xtup. + As above, "F" will (a) increase multiplicity by 1 for marked note and next + one and (b) add a dot to the first one. + Fix bug with e.g. c84 [ .d e.f ] by checking whether forced beam is on + when "." is encountered, then correcting beam start time.(end of getnote) + MIDI velocity (volume) set: Iv[n1]:[n2]:[n3]... +2.293 + Check for single notes spanning bar lines. + Correct various bugs with staff-jumping beams. (1) for 2nd segment, vxtup + must be set in make2bar since beamstrt is not called, fixing problem with + dot at end. (2) add ivjb2 to flag which voice has 2nd segment and fix + problem when >2 staves. + Add nodur to args of dodyn, so can check if stemless and avoid height tweak + Correct bug in getdyn setting flag in idynda2(0) for manual horiz. tweak +2.292a + Undo syntax check for Type 2 or 3 TeX string starting in column 1. + Meanwhile, Werner's problem with a mid-line Type 3 string has gone away?! +2.292 + Allow comments in xtuplets + Enable multiple octave jumps in grace notes. + Allow dynamics in xtuplets. + Fix bug in getdyn searching for end of text string (correct length of lineq + to 128) + Fix bug in dodyn, must ignore horiz. interaction tweak for + user-text (idno = 0) + Syntax check for Type 2 or 3 TeX string starting in column 1 + (NOTE: later undone!) + Syntax check for page number > npages at forced line break. +2.291 + Fix error in AS command (accid spacing for small systems), making only + one spec per staff, nv total. + Stop using MIDI channel 10 +2.29 + Fix error in console output format for # of bytes used in MIDI file. + Fix bug in dograce so no space is added between grace and main note when + there is a MIDI-only accidental. + Fix bug so oes?+4 works. It was too ugly to explain. + ...Different ways of storing accidental specs on input and output. + No longer zap \writezbarno in special situations. + Fix bug in dyntxt level on rest + Line spacing equalization. Add macros \starteq, \endeq, \spread, etc. + Activate with Ae. (Maybe later could input alternate values for + \upamt, \dnamt, \parskip). Put \starteq on 1st note in voice 1 + in the page, and \endeq on 1st note of next-to-last line in page. +2.28 + Flip direction of forced beam "[f..." + Fix beam numbering for staff jumping beams. Uses irest(23,24,29,30) + Fix bug in sliding ip's for txtdyn's + In dyn's allow vert. offsets +/-64, horiz +/-25.6 (store in idnyda2(1-99) +2.27 + Comment out lines in dodyn checking number of dynamic marks found. Voice + order may not be monotonic if two lines on a staff. + Literal dynamic: D"[text]" +2.26 + Allow hairpin start-stop on same note by disabling auto-tweaks in dodyn, + increasing dimension of idynn to 4 to allow 4 symbols on same note. + Increase voltxtq length from 10 to 20. + AS[-/0][-/0]... to inform PMX that "-" voices are small, and rough + accounting for ast's is done by defining effective headwidth + whead1 in makebar2 to be 0.8*whead. +2.25 + Fix logic bug with sepsym's when # of instruments changes. + Slight increases in default offsets for hairpin starts after "p" +2.24 + Hairpins D< or D> as toggle. + Many automatic position tweaks for letter-group dynamics and hairpins. +2.23 + Continued rhythmic shortcuts: space followed by "." or "," +2.22 + In call to doslur, change tno(...) to tnote(...). This was only + used when checking to slurs per stem directions, and should have been + the note duration all along. + MIDI-only accidental, bit 17 in nacc, or 27 in icrdat. + Use "i" anywhere in note symbol. +2.21 + Increase from 20 to 30 dimensions for movement breaks and midi sections. + Fix out-of-order declarations per mutex comments + Add "Bad error" and "Kluging" messages to log file. +2.197 + add /comips/ to save tie-check midi variables + For spacing of clef changes at start of input block, changed integer time + lastnodur to prevtn, so it works with xtups. Possible incompatibility! +2.196 + Fix Ickbug with time check in ncmid() + Interchange \fermataup7 and \pausec to get proper alignment + Enable French violin clef "f", number 7 in PMX, but 9 in MusiXTeX. + Add defn's of \hsp, \hspp to pmx.tex + Fix pre-slurs on xtup chord notes. + Fixed raised PAuse, define \liftPAuse + Replace \zbreve\sk with \breve. + Made "1" work as mtrdenl by doubling it and mtrnuml. BUT WAIT...what + about "o" and 1 as shorthand for 16???? Search for "Kluge" + Added "vo" (voice) as MIDI instrument 55 + Allow 3-digit page numbers (search for "toppageno") + Fix bug caused by prior fix (cancelling accid after bar line was ignored). + Fix double accids in chords +2.194 + Fix bug with accid/tie/barline/chord in addmidi by restructuring accid if + block. + Add meter to MIDI file with every pause + Purify FORTRAN? +2.193 + Increased # of in-line TeX strings from 36 to 52. + Fix entry of # of bytes in header of tempo/meter/key track to allow >255. +2.191 + Event track: Tempos, meters, keys all together. Data in comevent +2.15 + Pretty good midi capability. Still no attention to slurs on chord notes. +2.11 + 11 Dec 99 c rm1 + 11 Dec 99 "oes?", "oe?" + 11 Dec 99 Cancel slur horizontal tweaks with non-stemmed notes + 11 Dec 99 Error message for shifted, repeated ornaments. +2.10 (Version 2.1) + Fix bug with lowdot and xtuplets +2.09 + Fix bug with multiple ornament heights over beams, when one is . or _ + Error message from pmxa if rest on last note of xtup. + Enable 12 slurs. + Reinstate multiple rests at start of xtup. +2.07 + Combine consecutive type-1 TeX strings. + \midslur and \curve as 3rd signed digit in slur termination, + 2 opt.int's. + Fixed breve chord notes in docrd + Check irest(28) as well as vxtup when setting nodur for chord notes, since + vxtup isn't set until 1st *main* note in xtup + Vectorize nolev1, slope, ixrest. Klug fix for xtups with variable spacing. +2.06+ + Make deterministic the beam slope calculation when there are an even # of + slopes in list and middle two are equal magnitude but opposite sign. + pmxa Trap for "o:" before 1st note in block + Partial bug fix for 64th notes in xtuplets. + Make ixrest a vector, since with new time scheme may not finish xtup in + same notes block. + Increase max # of pages from 20 to 30 (dimensions of nsystp,..., in pmxb) +2.06 + Account for changes in nv when computing \interstaff. Add a counter + nistaff(iflb) = # of interstaff spaces per system = nv-1. Set whenever + setting isysflb(iflb). Note nv can only change at a forced line break. + Note also, iflb starts at 0! +2.05 + Automatic start of new notes group with part 2 of staff-jump beam + In make1bar, set irest bit 29 of lowest-voice note at same time, + use as flag when making notes groups. + For now, remove dummy blank line at end...it zaps terminal repeats. +2.02 + Fixed slur-counting bug for multiple, slurred, aftergraces. +2.01 + Increase to ask(1400) + Increase max forced page breaks to 18 + Define pausc for centered pause +2.0a + Insert dummy blank line at very end to handle input files w/o terminal CR-LF +pmx03r + Option m[n] in S symbol to change musicsize (for parts) + Double dotted rests now work. + Write file name to log file + Check existence of input file + Allow 24-char jobname, may end with ".pmx" + Comment out time stuff + Replace 3-argument getarg with 2-argument + iargc + Fix bug with negative noinst due to nint<=int replacement + move lovation of iv in isdat1 to allow iv>7. + Set nm=12 +pmx03q + replace int(x+.001) with nint(x) + Write TeX file name to screen and to pml. + Replace char(...) with chax(...) to sovle msdev bug. + Bug fix: macro terminations when M is on a line by itself. + Bug fix: don't accumulate space for XS in pmxa. + Streamline Macros: use pointers to bufq instead of scratch files +pmx03p + Store input file in single character array bufq. + lbuf(i)*2 is length of line i + ipbuf is position just before next line to be read. +pmx03 + Optimize read/writes +pmx02 + Fix line count (for errors) when there are saved macros +pmx01 + In optimize mode, open/close macros (Watch out for residual zz files!) + Command line input + Option Ao to optimize, otherwise normal processing +c diff --git a/Master/texmf-dist/doc/generic/pmx/README b/Master/texmf-dist/doc/generic/pmx/README index 492559b1b0d..18a886f436e 100644 --- a/Master/texmf-dist/doc/generic/pmx/README +++ b/Master/texmf-dist/doc/generic/pmx/README @@ -1,11 +1,17 @@ -This is PMX, version 2.8.4 (2018-02-12). PMX provides a preprocessor for MusiXTeX. +This is PMX, version 2.94 (2020-01-27). 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 -most of MusiXTeX's functionality, but it also permits in-line TeX to -give access to virtually all of MusiXTeX. For proof-listening, pmxab will -make a MIDI file of your score. +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 most of MusiXTeX's functionality, but it +also permits in-line TeX to give access to virtually all of +MusiXTeX. For proof-listening, pmxab will make a MIDI file +of your score. scor2prt is an auxiliary program that makes parts from a score. -The author of pmxab and scor2prt is Don Simons (dsimons@roadrunner.com). +PMX may be freely copied, duplicated and used in conformance +to the GNU General Public License (Version 3, 29 June, 2007, +see included file gpl.txt). + +The author of pmxab and scor2prt is Don Simons +(dsimons@roadrunner.com). diff --git a/Master/texmf-dist/doc/generic/pmx/accents.eps b/Master/texmf-dist/doc/generic/pmx/accents.eps new file mode 100644 index 00000000000..f51f0419971 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pmx/accents.eps @@ -0,0 +1,1145 @@ +%!PS-Adobe-3.0 EPSF-3.0 +%%Creator: dvips(k) 5.993 Copyright 2013 Radical Eye Software +%%Title: accents.dvi +%%CreationDate: Sun Feb 21 13:36:34 2016 +%%Pages: 1 +%%PageOrder: Ascend +%%BoundingBox: 45 640 443 743 +%%DocumentFonts: TeXMUSIX20-Regular CMBX12 CMR10 CMMI10 +%%DocumentPaperSizes: Letter +%%EndComments +%DVIPSWebPage: (www.radicaleye.com) +%DVIPSCommandLine: dvips -O0.25in,-0.22in -tletter accents +%DVIPSParameters: dpi=600 +%DVIPSSource: TeX output 2016.02.21:1336 +%%BeginProcSet: tex.pro 0 0 +%! 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e49bfd0f8c0..c6bf78dc6d5 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}{2.8.4} +\newcommand{\pmxVersion}{2.9.4} \begin{document} \title{Installation of the CTAN PMX Distribution} \author{Bob Tennent\\ @@ -32,25 +32,16 @@ which tree to use\footnote{% and installing files\footnote{% \myurl{http://www.tex.ac.uk/cgi-bin/texfaq2html?label=inst-wlcf}}. -\section{Installing \texttt{pmx.tds.zip}} +\section{Installing \texttt{texmf} Files} -In this distribution of PMX, most of the files to be installed -(including macros, documentation, and a processing script) are in -\myurl{http://mirror.ctan.org/install/support/pmx.tds.zip} at CTAN. -The file \verb|pmx.tds.zip| is a zipped TEXMF -hierarchy; simply download it and unzip in the root folder/directory of whichever TEXMF tree -you decide is most appropriate, likely a ``local'' or ``personal'' one. -This should work with any TDS\footnote{% -\myurl{http://www.tex.ac.uk/cgi-bin/texfaq2html?label=tds}} -compliant TeX distribution, including MikTeX, TeXlive and teTeX. +Copy \verb|tex/pmx.tex| to \verb|/tex/generic/pmx| in a personal or local +TEXMF tree. +Copy files in \verb|doc| to \verb|/tex/doc/generic/pmx| in the TEXMF tree. -After unzipping the archive, update the filename database as necessary, +Update the filename database as necessary, for example, by executing \verb\texhash ~/texmf\ or clicking the button labelled ``Refresh FNDB" in the MikTeX settings program. -Documentation for PMX is installed under \verb\doc/generic/pmx\ -in the TEXMF tree. - \section{Installing \texttt{pmxab} and \texttt{scor2prt}} The next step in the installation is to install @@ -87,6 +78,7 @@ and \texttt{gcc}\footnote{% on your platform, you should be able to build \texttt{pmxab} and \texttt{scor2prt} executables. + To build \texttt{pmxab} and \texttt{scor2prt} for your platform: \begin{enumerate} \item Unpack the \texttt{pmx-\pmxVersion.tar.gz} archive: @@ -112,7 +104,7 @@ as root (admin) to install to the system path, or just \end{list} to install in your own path. \end{enumerate} -You should now have executables \verb\pmxab\ and +You should now have executables \verb\pmxab\ and \verb\scor2prt\ available for use. \section{The \texttt{musixtex.lua} Processing Script} diff --git a/Master/texmf-dist/doc/generic/pmx/pmx25-284.html b/Master/texmf-dist/doc/generic/pmx/pmx25-284.html deleted file mode 100644 index 29d811084c1..00000000000 --- a/Master/texmf-dist/doc/generic/pmx/pmx25-284.html +++ /dev/null @@ -1,384 +0,0 @@ - - - - - PMX 2.84 vs 2.5 - - - - -

Changes from PMX 2.5 to the Latest Full Release (2.84), 10 February 2018

- -

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 at concert pitch.
    • -
- -

2.70 (Note: new scor2prt.exe and pmx.tex)

-
    -
  • Bugfix in AN, to make it behave as advertised, which is to assign user- - defined names to part files rather than using the default.
    • -
- -

2.71 (Note: new pmx.tex and MusiXTeX 1.21)

-
    -
  • Octave treble clef ("C8" command).
    • -
  • In figured bass, apply vertical shift for remainder of line with - option "v[-](number)" to the figure command
    • -
  • Internal changes in multi-bar rests to accommodate changes in - musixtex.tex.
    • -
  • Slurs aligned with stem ends, postscript slurs only, option "v".
    • -
  • Coda "oC".
    • -
  • New, smaller segno "oG". Unlike "og", must enter on every staff.
    • -
- -

2.72 (Note: new pmx.tex; still requires MusiXTeX 1.21)

-
    -
  • Bugfix when arpeggios go from one voice to another in the same staff.
    • -
  • Further tweaks in multibar rests.
    • -
  • Tweaks in centered full-bar rests.
    • -
  • Fix bug in clef changes for multi-staff instruments.
    • -
- -

2.73 (Note: new pmx.tex)

-
    -
  • Enabled lyrics with "[text]".
    • -
  • Internally replace each '\' in pathname in input file with '/', so files made - in Window are compatible with linux systems. -
- -

2.74 (Note: new pmx.tex, new scor2prt)

-
    -
  • Enabled staff-crossing chords with single stems, as ordinary beams, and as - beamed xtuplets.
    • -
  • Allow \" in lyrics string, for umlaut.
    • -
  • Fix bug in scor2prt that was causing crashes when last line started with %.
    • -
  • Enable note option Lx to lengthen a stem by x \internotes.
    • -
- -

2.76

-
    -
  • Allow accented characters in lyrics.
    • -
  • Behind-the-scenes modifications to allow staff-crossing chords that - are unbeamed or beamed, as illustrated in staffcrossall.pmx.
    • -
  • Modifications to allow accented characters in text strings in - lyrics, page headers, and text dynamics.
    • -
  • Bugfixes in unbeamed, dotted xtuplets.
    • -
  • Increased allowable length of text dynamic strings from 52 to 64 - characters.
    • -
- -

2.77

-
    -
  • Enable AV+/-x+/-y to add vskip bigh before or after \eject.
    • -
- -

2.78

-
    -
  • Expand bufq to 131072 bytes.
    • -
  • Expand maxblks tp 9600.
    • -
  • Allow up to 75 pages.
    • -
  • Index postscript hairpins from 1 up instead of by voice #.
    • -
  • Add option 'o' to forced beam for open notehead (\hb); set ipl(3).
    • -
  • Add option T[n], n=1,2,3 for single stem tremolo.
    • -
- -

2.80

(Note: new pmx.tex)

-
    -
  • Add 2-note tremolos.
    • -
- -

2.81

-
    -
  • Allow string of rests to end xtup,
    • -
  • In chordal half-note 2-note tremolo, make chord notes open.
    • -
- -

2.82

-
    -
  • Bugfix: beams with rests, not confused with xtups.
    • -
  • x option after slur index to allow slurs to go from one voice to another.
    • -
  • x option also for ties.
    • -
- -

2.83

-
    -
  • Fix problems when changing to or from octave treble clef.
    • -
  • Fix beaming (or not) and number location for xtups with - multiple rests. Still some problems with number height but - can be band-aided with number height tweak option.
    • -
  • Tweak error messages for options on "R" command.
    • -
  • Allow forced beam height and slope tweaks with 2-note tremolos.
    • -
  • Allow chordal note with 2-note tremolos, adding dots as needed.
    • -
  • Fix call to ncmid in beamstrt when setting start height for beam of - 2-note trem, by changing arg from ivx to iv.
    • -
- -

2.84

-
    -
  • Bug fix: dots in chordal seconds.
    • -
  • Bug fix: Initialize ihornb for non-beamed, down xtup.
    • -
  • Bug fix when using "AT" with 2-note x3c rD.
    • -
- -

Revised 12 February 2018, Don Simons (dsimons at roadrunner dot com)

- - - diff --git a/Master/texmf-dist/doc/generic/pmx/pmx284.pdf b/Master/texmf-dist/doc/generic/pmx/pmx284.pdf deleted file mode 100644 index a62ebabf247..00000000000 Binary files a/Master/texmf-dist/doc/generic/pmx/pmx284.pdf and /dev/null differ diff --git a/Master/texmf-dist/doc/generic/pmx/pmx284.tex b/Master/texmf-dist/doc/generic/pmx/pmx284.tex deleted file mode 100644 index ce131274281..00000000000 --- a/Master/texmf-dist/doc/generic/pmx/pmx284.tex +++ /dev/null @@ -1,2759 +0,0 @@ -%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% -% -% pmx284.tex 12/30/2017 -% -%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% -\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\rulet{#1}{.05in}\fi} - -\begin{document} - -\raggedright -\parindent24pt - -\title{ - \Huge\bf - PMX~--~a Preprocessor for \MusiXTeX{}\\ - \null\vskip-15pt - \Large\sl - Version 2.84~--~20 December 2017\\ - \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 version 2.80, aside from bug fixes which are documented in the -opening comments in the source code, \PMX version 2.84 allows arbitrary -numbers of rests in xtuplets, chordal notes in 2-note tremolos, and -user-defined adjustments of beam height and slope in 2-note tremolos. - -\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 its very beginning. Many -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 1.21 \NEW{2.71} 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/pmx276.zip} -{\underline{\tt pmx276.zip}}.\NEW{2.76} It -contains the FORTRAN sources, binaries that will run in a DOS -window on a PC with WINDOWS95 or higher, manuals for useage and for installation -in DOS/Windows, and example typesetting files. Alternatively, 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 pmx276.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 pmx276.zip}, -you should have these -files: \NEW{2.76} {\tt pmx276.for}, {\tt scor2prt.for}, two -Windows executables {\tt pmxab.exe} and {\tt scor2prt.exe}, several sample -{\tt .pmx} files, -{\tt pmx.tex}, {\tt ref276.tex} (\TeX\ source for a command summary), -{\tt pmx276.tex }(\TeX\ source for this file), -PDF images of the latter two files, {\tt pmx25-276.html} showing -changes from version 2.50 to 2.76, and {\tt install\_run\_PMX271.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,~8} or digits 0-8 \NEW{2.71} 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,\NEW{2.2} {\bf F}rench violin clef, or octave treble 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; {\tt a} (for {\bf a}lone) which inhibits -beaming for this note (or, if the first note of an xtuplet, for the -entire xtuplet); and \NEW{2.80}{\tt T} to insert a {\it tremolo} -on the stem. -The {\tt T} may be followed by a single digit {\tt 1}, {\tt 2}, or {\tt 3} -to indicate the -number of slashes in the tremolo symbol; {\tt 1} is the default if no digit -is entered. \NEW{2.4}A single accidental may be immediately -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{2.73} can be {\bf s}hortened or {\bf l}engthened by {\it x} -\bs{\tt internote} with the options {\tt S}{\it x} or {\tt L}{\it x}~. -{\it x} is restricted to the range (0.5,4.0) for shortening and 0.5 to 27.5 -for lengthening. -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:} . By lengthening a stem enough -to span to the next staff and connect with notes there, unflagged staff-spanning -chords can be constructed. See section \ref{chords}~for further details -about staff-spanning chords. - -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 subsection below on rests), -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 either a one- or two-digit integer for the number of notes in -the xtuplet, or \NEW{2.80}{\tt T} to initiate a 2-note tremolo, to be further -discussed below. 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 numerical time value is permitted. - -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{2-note tremolos} - -A 2-note tremolo \NEW{2.80}is a special case of an xtuplet. -It represent a rapid alternation between two notes. -It is notated with a pair of -notes, either beamed or unbeamed, with the possible addition of from one to three -indented, disconnected beams between the two note stems. -Like an ordinary -xtuplet, it begins with a note name, optional duration and octave level, then -the character {\tt x}. The duration applies to the total time value of the -two notes, and is currently limited to either a half note ({\tt 2}), -quarter ({\tt 4}), or eighth ({\tt 8}). The duration may be dotted. -Next comes a {\tt T}. This is optionally followed by one or two -integers from 0 to 3. The first indicates the number of ordinary beams -connecting the two notes; the second, the number of indented beams. -No other options are allowed, and some options are prohibited, such as zero -ordinary beams on anything except a quarter or dotted quarter tremolo. If no -integers are entered, defaults are assigned: (3,0) for a half, (0,3) for a -quarter, and (1,2) for an eighth. After a space, the -second note of the tremolo is entered. If the total duration is a half or dotted -half, the -noteheads will be open. For a whole note tremolo, two consecutive half note -tremolos should be used. As with ordinary xtuplets, the horizontal spacing of the -notes will always be the -correct value for notes with half the duration of the total. - -Either\NEW{2.84} or both members of the tremolo may include chordal notes, -using the normal {\tt z} notation described in section~\ref{chords}. Also, -if the tremolo is beamed, the height and angle of the beam may be adjusted -after making it a forced beam as described in section!\ref{beams}. - -Some examples are shown below. When two versions are shown for a given duration, -the first is the default. The following \PMX code generates the example. - -~ - -{\tt f24xT a fxT a | fxT20 a fxT20 a /} - -{\tt L2 fd24xT a r4 | f24xT a f2xT20 a /} - -{\tt L3 fd44xT a r8 f44xT a r4 | f44xT02 a fd8xT a r1 f8xT a r4 f8xT11 a /} - -~ - -\includegraphics[scale=1.0]{tremxmpl3.eps} - -\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}. - -Although there is no dedicated command for it, chords can be made to span from -one staff to another using various techniques\NEW{2.73}. The approach will depend on -whether -the chord is single-stemmed with no flag, single-stemmed with a flag, or beamed. -If beamed, it will also depend on whether it is an xtuplet or not. Examples of all -the basic possibilities are contained in the sample file {\tt staffcrossall.pmx}. - -For unbeamed, unflagged staff-crossing chords, -by lengthening the stem with the {\tt L} option on the main note, it can -be made long enough to join with an unflagged single-stemmed note or chord in the -next staff. Single-stemmed notes with one or more flags can be joined across staves -with a trick discovered by Andre Van Ryckeghem: In one staff create a standard note or -chord with -the stem pointing away from the other staff. In the other staff, place the chord notes -in a one-note forced beam that has been lowered or raised into the first staff -(e.g. {\tt [-10 b14 ]}); that -will stretch the stem to join the other notes, but with just one note (or chord) in the -beam, the crossbar will have zero length and be invisible. - -Beamed chords may also span from one staff to another, using joined beams (see -section~\ref{beams}). The general approach is to construct a set of chords -(or single notes, if the other chord notes are in the other staff) in each of -the two staves, enclose each set in a separate forced beam, and join the two -beams with {\tt ]j}...{\tt [j}~. It is important to remember that the -lower staff is processed first. So in most cases, the end of the segment in the lower -staff must be joined (using {\tt ]j}) to the start of the upper segment (with {\tt [j}). -It turns out that for non-xtuplet beamed chords, in all cases where the chord at the -beginning of the beam has a note -in the {\it lower} staff, this works fine provided that the forced beams are of equal -duration and cover the same time span, and that positions in either staff with no note -are represented with -blank rests \bs{\tt rb} inside the force beam. So for example a set of beamed chords -that starts only in the -lower staff and ends only in the upper could be represented by -\begin{verbatim} -{\tt [+28 g83 g g rb ]j / -[jf rb g84 g g ] /} -\end{verbatim} -This example highlights some other issues, viz., that the beam height or direction of one -or both beam groups may need to be altered. Often this will require trial and error. - -Unfortunately this two-group procedure breaks down if the first chord in the beam has no -notes in the lower staff. There are tricks to get around this; the user is referred to -the file {\tt staffcrossall.pmx} for examples. However, there is a much more -straightforward way to define -staff-crossing beamed chords that begin in the upper staff: it simply requires defining -the beamed group in each staff as an xtuplet within a forced beam. It turns out that -the treatment of -staff-crossing beamed xtuplets is more robust than for non-xtuplets, and will admit -more intuitive coding. So for example, the reverse of the above example, where -the beam starts in the upper staff and ends in the lower, could be obtained with -\begin{verbatim} -{\tt [+28 rb2x4n g3 g g ]j / -[jf g24x4 g g rb ] /} -\end{verbatim} -\newdimen\psav\psav=\parindent\parindent=0pt where we used the option {\tt n} to -suppress printing the number. As you might expect, more general staff-crossing -beamed chordal xtuplets follow the same concepts already described for non-xtuplets, -but as noted, they are more robust and admit patterns that start in the upper staff -and end in the lower one. {\tt staffcrossall.pmx} also contains examples this -approach. - -\parindent=\psav - -\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 -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\_}), two different se{\bf g}nos -({\tt og} or {\tt oG}), {\bf C}oda ({\tt oC})\NEW{2.71}, -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. - -Either type of trill may immediately include an unsigned 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. - -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}. A second signed integer specifies a -horizontal shift from default in notehead widths. - -The caesura and breath marks differ from the others in their default horizontal position, -which is 0.5\bs{\tt noteskip} past the note. - -The {\tt og} segno has several special properties. It must be entered in the first (lowest) -staff, but will appear above -every staff. Its vertical position cannot be altered, but if appended by a number...unsigned -if positive...all appearances will be shifted horizontally by that number of points. On the -other hand, the {\tt oG} segno\NEW{2.71} has a smaller symbol than {\tt og}, -applies only to the note after which it is entered, and can be shifted just as a -normal ornament. - - 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 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, it 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. \NEW{2.71}Starting -or ending -position of a postscript slur or tie can be made to align with the end of the stem -of an unbeamed note by using the option {\tt v}. No other options are permitted -with {\tt sv}, but any desired position can be forced with the numeric options. - -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 \NEW{2.76} double quotes is an arbitrary text string -no longer than 64 characters, which may include embedded \TeX. -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 option {\tt h} forces the beam to be {\bf h}orizontal. - -The character {\tt m} followed by a digit 1-4 forces the {\bf m}ultiplicity -of the beam, the number of stem-joining bars. - - 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 or digit using the code specified in -section~\ref{ClefCodes}. 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} . - -\subsubsection{Lyrics}\NEW{2.73}\label{lyrics} - -Lyrics depend on the underlying \TeX\ command {\tt\bs pmxlyr} developed by Dirk -Laurie, which is defined in {\tt pmx.tex}. It in turn makes use of the macro -package {\tt musixlyr.tex} developed by Rainer Dunker. So to enable lyrics within \PMXX, -you will need to -ensure that {\tt musixlyr.tex} is installed somewhere in your system where your -\TeX\ processor can find it. - -Lyrics can be inserted by enclosing them in double-quotes inside the music line -just before the first note to which they apply, as in -{\tt "us-ing lyr---ics now\_\hglue1pt\_ "}. Once the first double quote is encountered, \PMX will -ensure that {\tt musixflx.tex} is input into the \TeX~file. - -Lyrics for several notes can be defined in one go. -The lyrics in each input string demand a specific number of notes, depending on -the number of syllables, hyphens, and underscores. If there are not enough lyrics, -question marks will appear; if too many, the excess syllables will not appear. - -The rules for aligning lyrics properly with notes are as follows. Words are -separated by whitespace, with any number of spaces counting as one. Syllables -within a word that require just one note each are separated by a single hyphen. There are -two ways to extend a syllable over two or more notes. If it is the last syllable in -a word (like {\tt "now\_\hglue1pt\_ "}), follow it with consecutive underscores, one for each extra -note, and finally a space. It will be printed with a continuous underscore. -To extend a syllable within a word (like {\tt "lyr---ics"}), insert one extra hyphen -(with no spaces) for each -extra note, and it will be printed with some number of hyphens filling the proper -space between syllables. Conversely, a tilde ({\tt \char126}) between two words -(with no spaces) prints a space between them while assigning the last syllable of the -first and the first syllable of the second to a single note\footnote{This is just an -example of using a standard \TeX\ feature within lyrics.}. So in the end, in a voice -with lyrics, every note must be associated with a syllable, its extension, or two -syllables joined with a tilde. - -Although underscores within a word or consecutive hyphens at the end may not crash the -code, they are not recommended for any foreseen useful purpose. - -Accented characters can be included in lyrics or elsewhere in several different ways. Here -we provide examples for just one of those methods, one which uses special \TeX~commands. -The following \PMX input contains most of the available accented characters and -leads to the example pictured below. - -\begin{verbatim} -"\'o \`o \^o \"o \~o \=o \.o \u{o} \v{o} \H{o} \t{oo}"@b+4 -c44 d e f g a b c c- d e r / - -"\c{o} \d{o} \b{o} {\oe} {\OE} {\ae} {\AE} {\aa} {\AA} {\o} {\O} {\l} {\L} {\ss}" -c44 d e f g a b c c- d e8 f g a / -\end{verbatim} - -\includegraphics[scale=1.0]{accents.eps} - -By default, lyrics will be placed below the staff where they are entered, half way between that -and the next lower staff. You may want to -alter the vertical position of a lyrics line, especially if both voices in -a staff have lyrics. This is accomplished with the opfion {\tt @}, immediately -following the closing quote of the -lyrics string with no space. That must be followed by either {\tt a} or {\tt b} for -{\bf a}bove or {\bf b}elow the staff, then a signed integer for the number of -\bs{\tt internote}s above or below the default height. This command is "sticky"; it -will remain in force for later lyrics in the same voice until altered. - -It may also be necessary to allow extra vertical space where the lyrics are positioned. -There is no \PMX command for this, but type 2 inline \TeX~can be used to insert extra -vertical space above any instrument. For example, if the voice is in instrument \#2 and -lyrics are below that staff, -\bs\bs{\tt interinstrument=0\bs internote\bs\bs setinterinstrument1\{8\bs internote\}}\bs~ will -add \newline 8 \bs{\tt internote}s in the space for the lyrics. - -Present limitations allow lyrics at upper and lower voices on the bottom two -staves of instruments 1 to 4. Elsewhere they are quietly ignored. - -Most scores with lyrics will benefit from the type 2 command \bs\bs{\tt sepbarrules}\bs, which -stops bar lines from crossing through the vertical space between instruments. - -The notation {\tt "us-ing lyr---ics now\_\hglue1pt\_ "} is actually shorthand for the inline \TeX\ -string {\tt\bs pmxlyr\{us-ing lyr---ics now\_\hglue1pt\_ \}\bs}. All the rules given in -section~\ref{LitTeX}~for -Type~1 \TeX\ strings apply. To ensure that the length of all the Type 1 \TeX\ -strings belonging to a particular note combined does not exceed 128, remember -to account for the nine characters in {\tt\bs pmxlyr\{\}}. - -This way of entering lyrics is a convenient interface to a small subset of the -facilities offered by {\tt musixlyr}. If more advanced features than those supported by -{\tt\bs pmxlyr} are needed, the necessary {\tt musixlyr} macros could be entered as -in-line \TeX\ directly into the .pmx file - see the example file {\tt netsoos.pmx} for -some of those. - -If really advanced features are needed (such as having several verses of lyrics -at once), most users 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. - -\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. - -\medskip -%\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}. - -Lyrics may be entered as described in section~\ref{lyrics}.\NEW{2.73} - -\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 Add extra vertical space before and/or page eject (last resort)}\NEW{2.8} -As a last resort in getting the right spacing at the top or bottom of a page, -the option {\tt V} will insert a vertical skip of the specified number of -{\tt \bs Internote}s before and after the next page eject. It must be followed by -{\tt +} or {\tt -}, then a number, then another {\tt +} or {\tt -} and number. - -{\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 would like to -change the vertical alignment for the remainder of the staff starting at a -figure after the first, \NEW{2.71}append {\tt v}[{\it n}], where {\it n} is an -integer representing the vertical shift in \bs{\tt internote}s, which may -have a minus sign. - -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}. - -%\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. - -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. - -75 \NEW{2.78} 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} - -9600 \NEW{2.78} lines in input file - -\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.. -% -\ \ \ \ \ \kern6pt 131072 \NEW{2.78} bytes in the entire input file - -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. - -{\tt netsoos.pmx}\NEW{2.73} is an example with lyrics, including several inline \TeX\ -commands to enhance the layout. - -{\tt staffcrossall.pmx}\NEW{2.74} contains examples of staff-crossing chords. Some are -single-stemmed, some are beamed non-xtuplets, and finally beamed xtuplets. - -\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 {\tt\bs pmxlyr} -and {\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/pmx294.pdf b/Master/texmf-dist/doc/generic/pmx/pmx294.pdf new file mode 100644 index 00000000000..2a0d2d18874 Binary files /dev/null and b/Master/texmf-dist/doc/generic/pmx/pmx294.pdf differ diff --git a/Master/texmf-dist/doc/generic/pmx/pmx294.tex b/Master/texmf-dist/doc/generic/pmx/pmx294.tex new file mode 100644 index 00000000000..69bf5269b8e --- /dev/null +++ b/Master/texmf-dist/doc/generic/pmx/pmx294.tex @@ -0,0 +1,2948 @@ +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +% +% pmx294.tex 1/22/2020 +% +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\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\rulet{#1}{.05in}\fi} + +\begin{document} + +\raggedright +\parindent24pt + +\title{ + \Huge\bf + PMX~--~a Preprocessor for \MusiXTeX{}\\ + \null\vskip-15pt + \Large\sl + Version 2.94~--~22 January 2020\\ + \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 version 2.84, aside from bug fixes documented in the +opening comments in the source code, \PMX version 2.94 +enables blank gaps at the end or in the middle of a system (\ref{Gaps}), +allows virtually +arbitrary staff jumping beams with multiplicity changes at the jump (\ref{Jumps}), +allows +changes to the vertical position of the number for a multibar rest (\ref{MultibarRest}), +and has more flexibility in setting stem lengths (\ref{Stemlength}). + +\setcounter{page}1 +% Need extra line to push last line of TOC to next page +~~ +\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 + \hsize4in\noindent\strut + \centerline{\ded Dedication} +\vskip 3pt +The \MusiXTeX~community was stunned by the sudden death of Werner Icking on +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 its very beginning. Many +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 1.21 \NEW{2.71} 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/pmx294.zip} +{\underline{\tt pmx294.zip}}.\NEW{2.94} It +contains the FORTRAN sources, binaries that will run in a DOS +window on a PC with WINDOWS95 or higher, manuals for usage and for installation +in DOS/Windows, and example typesetting files. Alternatively, 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 pmx294.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 pmx276.zip}, +you should have these +files: \NEW{2.76} {\tt pmx276.for}, {\tt scor2prt.for}, two +Windows executables {\tt pmxab.exe} and {\tt scor2prt.exe}, several sample +{\tt .pmx} files, +{\tt pmx.tex}, {\tt ref276.tex} (\TeX\ source for a command summary), +{\tt pmx276.tex }(\TeX\ source for this file), +PDF images of the latter two files, {\tt pmx25-276.html} showing +changes from version 2.50 to 2.76, and {\tt install\_run\_PMX271.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: +\pagebreak +\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,~8} or digits 0-8 \NEW{2.71} 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,\NEW{2.2} {\bf F}rench violin clef, or octave treble 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; {\tt a} (for {\bf a}lone) which inhibits +beaming for this note (or, if the first note of an xtuplet, for the +entire xtuplet); and \NEW{2.80}{\tt T} to insert a single-note {\it tremolo} +on the stem (not to be confused with a 2-note tremolo, discussed later in +section~\ref{TwoNoteT}). +The {\tt T} may be followed by a single digit {\tt 1}, {\tt 2}, or {\tt 3} +to indicate the +number of slashes in the tremolo symbol; {\tt 1} is the default if no digit +is entered. \NEW{2.4}A single accidental may be immediately +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. + +\label{Stemlength}Stem length \NEW{2.73} can be {\bf s}hortened or {\bf l}engthened by {\it x} +\bs{\tt internote} with the options {\tt S}{\it x} or {\tt L}{\it x}~. +{\it x} is restricted to the range (0.5,4.0) for shortening and 0.5 to 27.5 +for lengthening. +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:} . By lengthening a stem enough +to span to the next staff and connect with notes there, unflagged staff-spanning +chords can be constructed. See section \ref{chords}~for further details +about staff-spanning chords. + +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 subsection below on rests), +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 either a one- or two-digit integer for the number of notes in +the xtuplet, or \NEW{2.80}{\tt T} to initiate a 2-note tremolo, to be further +discussed below. 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 numerical time value is permitted. + +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{2-note tremolos}\label{TwoNoteT} + +A 2-note tremolo \NEW{2.80}is a special case of an xtuplet. +It represent a rapid alternation between two notes. +It is notated with a pair of +notes, either beamed or unbeamed, with the possible addition of from one to three +indented, disconnected beams between the two note stems. +Like an ordinary +xtuplet, it begins with a note name, optional duration and octave, then +the character {\tt x}. The duration applies to the total time value of the +two notes, is currently limited to either a half note ({\tt 2}), +quarter ({\tt 4}), or eighth ({\tt 8}), and may be dotted by including~{\tt d}~after +the duration digit. +Next comes a {\tt T}. This is optionally followed by one or two +integers from 0 to 3. The first indicates the number of ordinary beams +connecting the two notes; the second, the number of indented beams. + +The only other option allowed on the first note is to move the dot. After +the~{\tt d}~enter one or two signed integers, where the first +is a vertical shift in {\tt \bs internote}s, and the second, a horizontal shift +in notehead widths. If the note has both a moved dot and a digit for an explicit octave, +the~{\tt d} must follow the octave number + +No other options are allowed, and some options are prohibited, such as zero +ordinary beams on anything except a quarter or dotted quarter tremolo. If no +integers are entered after the~{\tt T}, defaults are assigned: (3,0) for a half, +(0,3) for a quarter, and (1,2) for an eighth. + +After a space, the second note of the tremolo is entered. If the total duration +is a half or dotted half, the +noteheads will be open. For a whole note tremolo, two consecutive half note +tremolos should be used. As with ordinary xtuplets, the horizontal spacing of the +notes will always be the +correct value for notes with half the duration of the total. If the tremolo duration +is dotted, a dot will appear by default on the second note, and no~{\tt d}~should +be entered there unless the dot needs to be moved, in which case the syntax is as +described above for the first note. + +Either\NEW{2.84} or both members of the tremolo may include chordal notes, +using the normal {\tt z} notation described in section~\ref{chords}. If the +duration is dotted, dots will appear by default on chord notes, and again +no~{\tt d}~should be entered there unless the dot needs to be moved. +If the tremolo is beamed, the height and angle of the beam may be adjusted +after making it a forced beam as described in section~\ref{beams}. + +Some examples of 2-note tremolos are shown below. When two versions are shown +for a given duration, +the first is the default. The following \PMX code generates the example. + +~ + +{\tt f24xT a fxT a | fxT20 a fxT20 a /} + +{\tt L2 fd24xT zefd-2+1 zcd-2+1 a r4 | f24xT a f2xT20 a /} + +{\tt L3 fd44xT a r8 f44xT a r4 | f44xT02 a fd8xT a r1 f8xT a r4 f8xT11 a /} + +~ + +\includegraphics[scale=1.0]{tremxmpl4.eps} + +\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. + + 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. + + \label{MultibarRest}The command {\tt rm} followed immediately by an +unsigned integer will generate a {\bfi m}{\it ulti-bar} +rest, a special combination of characters between two bar lines +representing two or more bars of rest. The integer will always be printed, +horizontally centered. The integer in the command \NEW{2.91}may optionally +be followed by {\tt n} and then another integer, possibly negative, indicating a +different vertical position for the number relative to the bottom staff line. +The default is 9. To put the number +below the staff use -5 or -6. Once the height is changed it will stay the same until +changed again. The {\tt rm} command will generally only be used in separate parts +that have 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. + +\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}. + +Although there is no dedicated command for it, chords can be made to span from +one staff to another using various techniques\NEW{2.73}. The approach will depend on +whether +the chord is single-stemmed with no flag, single-stemmed with a flag, or beamed. +If beamed, it will also depend on whether it is an xtuplet or not. Examples of all +the basic possibilities are contained in the sample file {\tt staffcrossall.pmx}. + +For unbeamed, unflagged staff-crossing chords, +by lengthening the stem with the {\tt L} option on the main note, it can +be made long enough to join with an unflagged single-stemmed note or chord in the +next staff. Single-stemmed notes with one or more flags can be joined across staves +with a trick discovered by Andre Van Ryckeghem: In one staff create a standard note or +chord with +the stem pointing away from the other staff. In the other staff, place the chord notes +in a one-note forced beam that has been lowered or raised into the first staff +(e.g. {\tt [-10 b14 ]}); that +will stretch the stem to join the other notes, but with just one note (or chord) in the +beam, the crossbar will have zero length and be invisible. + +Beamed chords may also span from one staff to another, using joined beams (see +section~\ref{beams}). The general approach is to construct a set of chords +(or single notes, if the other chord notes are in the other staff) in each of +the two staves, enclose each set in a separate forced beam, and join the two +beams with {\tt ]j}...{\tt [j}~. It is important to remember that the +lower staff is processed first. So in most cases, the end of the segment in the lower +staff must be joined (using {\tt ]j}) to the start of the upper segment (with {\tt [j}). +It turns out that for non-xtuplet beamed chords, in all cases where the chord at the +beginning of the beam has a note +in the {\it lower} staff, this works fine provided that the forced beams are of equal +duration and cover the same time span, and that positions in either staff with no note +are represented with +blank rests \bs{\tt rb} inside the force beam. So for example a set of beamed chords +that starts only in the +lower staff and ends only in the upper could be represented by +\begin{verbatim} +[+28 g83 g g rb ]j / +[jf rb g84 g g ] / +\end{verbatim} +This example highlights some other issues, viz., that the beam height or direction of one +or both beam groups may need to be altered. Often this will require trial and error. + +Unfortunately this two-group procedure breaks down if the first chord in the beam has no +notes in the lower staff. There are tricks to get around this; the user is referred to +the file {\tt staffcrossall.pmx} for examples. However, there is a much more +straightforward way to define +staff-crossing beamed chords that begin in the upper staff: it simply requires defining +the beamed group in each staff as an xtuplet within a forced beam. It turns out that +the treatment of +staff-crossing beamed xtuplets is more robust than for non-xtuplets, and will admit +more intuitive coding. So for example, the reverse of the above example, where +the beam starts in the upper staff and ends in the lower, could be obtained with +\begin{verbatim} +[+28 rb2x4n g3 g g ]j / +[jf g24x4 g g rb ] / +\end{verbatim} +\newdimen\psav\psav=\parindent\parindent=0pt where we used the option {\tt n} to +suppress printing the number. As you might expect, more general staff-crossing +beamed chordal xtuplets follow the same concepts already described for non-xtuplets, +but as noted, they are more robust and admit patterns that start in the upper staff +and end in the lower one. {\tt staffcrossall.pmx} also contains examples this +approach. + +\parindent=\psav + +\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 +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\_}), two different se{\bf g}nos +({\tt og} or {\tt oG}), {\bf C}oda ({\tt oC})\NEW{2.71}, +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. + +Either type of trill may immediately include an unsigned 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. + +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}. A second signed integer specifies a +horizontal shift from default in notehead widths. + +The caesura and breath marks differ from the others in their default horizontal position, +which is 0.5\bs{\tt noteskip} past the note. + +The {\tt og} segno has several special properties. It must be entered in the first (lowest) +staff, but will appear above +every staff. Its vertical position cannot be altered, but if appended by a number...unsigned +if positive...all appearances will be shifted horizontally by that number of points. On the +other hand, the {\tt oG} segno\NEW{2.71} has a smaller symbol than {\tt og}, +applies only to the note after which it is entered, and can be shifted just as a +normal ornament. + + 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 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, it 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. \NEW{2.71}Starting +or ending +position of a postscript slur or tie can be made to align with the end of the stem +of an unbeamed note by using the option {\tt v}. No other options are permitted +with {\tt sv}, but any desired position can be forced with the numeric options. + +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 \NEW{2.76} double quotes is an arbitrary text string +no longer than 64 characters, which may include embedded \TeX. +By default a single note dynamic mark is horizontally centered below the note +to which it is assigned, or below the staff, whichever is lower. Dim. or cresc. +follow the obvious extension of that rule to the starting and ending note taken +together. Examples of the default positions of dynamic marks are contained +in the file {\tt dyntest.pmx}. However, with any dynamic mark you can also +enter position shifts, vertical as a signed integer representing +the number of {\tt \bs internote}s, then (if desired) horizontal as a signed +number representing a +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 option {\tt h} forces the beam to be {\bf h}orizontal. + +The character {\tt m} followed by a digit 1-4 forces the {\bf m}ultiplicity +of the beam, the number of stem-joining bars. + + 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. + + \label{Jumps}In most cases \NEW{2.91} it is possible within \PMX to set a staff-jumping +beam that changes multiplicity right at the jump. The only cases where the author +hasn't yet found a way are where multiplicity increases and the beam runs +at a height between the notes in the two staves. In that case some inline \TeX\ +is needed. The example below covers all possible combinations of jump direction; +whether the beam runs below all, between, or above all of the notes; and +whether multiplicity stays the same, increases, or decreases at the jump. + +~ +\begin{verbatim} +h4.4i +w5.5i +\\let\nbbut\nbbu\let\nbblt\nbbl\ +% Fixed mult, up jump +[ g83 g ]j rb4 | [u g83 g ]j rb4 | [u+14 g83 g ]j rb4 / +rb4 [j f84 f ] | rb4 [j f84 f ] | rb4 [jl f84 f ] / +% down jump +rb4 [j g83 g ] | rb4 [j g83 g ] | rb4 [ju g83 g ] / +[ f84 f ]j rb4 | [l f84 f ]j rb4 | [l-14 f84 f ]j rb4 / +L2 +% Bar 7 Incr mult, up jump +[ g83 g ]j rb4 | [l+14 g83 g ]j rb4 / +rb4 [j f14 f f8 ] | rb4 \def\nbbu#1{\nbbl{#1}\let\nbbu\nbbut}\ [ju f14 f f8 ] / +[u+14 g83 g ]j rb4 / +rb4 [jl f14 f f8 ] / +% down jump +rb4 [j g13 g g8 ] | rb4 \def\nbbl#1{\nbbu{#1}\let\nbbl\nbblt}\ [j g13 g g8 ] / +[ f84 f ]j rb4 | [u-14 f84 f ]j rb4 / +rb4 [ju g13 g g8 ] / +[l-14 f84 f ]j rb4 / +L3 +% Bar 13 Decrease mult, up jump +[ g83 g1 g1 ]j rb4 | [u g83 g1 g1 ]j rb4 | [u+14 g83 g1 g1 ]j rb4 / +rb4 [j f84 f ] | rb4 [j f84 f ] | rb4 [jl f84 f ] / +% down jump +rb4 [j g83 g ] | rb4 [j g83 g ] | rb4 [ju g83 g ] / +[ f84 f1 f ]j rb4 | [l f84 f1 f ]j rb4 | [l-14 f84 f1 f ]j rb4 / +\end{verbatim} + +\includegraphics[scale=1.0]{sjb291.eps} + +~ + +\subsubsection{Clefs} + + A clef change is signaled by {\tt C} followed by a single lower-case +letter or digit using the code specified in +section~\ref{ClefCodes}. 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 \bs {\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} . + +\subsubsection{Lyrics}\NEW{2.73}\label{lyrics} + +Lyrics rely on the underlying \TeX\ command {\tt\bs pmxlyr} developed by Dirk +Laurie, which is defined in {\tt pmx.tex}. It in turn makes use of the macro +package {\tt musixlyr.tex} developed by Rainer Dunker. So to enable lyrics within \PMXX, +you will need to +ensure that {\tt musixlyr.tex} is installed somewhere in your system where your +\TeX\ processor can find it. + +Lyrics can be inserted by enclosing them in double-quotes inside the music line +just before the first note to which they apply, as in +{\tt "us-ing lyr---ics now\_\hglue1pt\_ "}. Once the first double quote is encountered, \PMX will +ensure that {\tt musixflx.tex} is input into the \TeX~file. + +Lyrics for several notes can be defined in one go. +The lyrics in each input string demand a specific number of notes, depending on +the number of syllables, hyphens, and underscores. If there are not enough lyrics, +question marks will appear; if too many, the excess syllables will not appear. + +The rules for aligning lyrics properly with notes are as follows. Words are +separated by whitespace, with any number of spaces counting as one. Syllables +within a word that require just one note each are separated by a single hyphen. There are +two ways to extend a syllable over two or more notes. If it is the last syllable in +a word (like {\tt "now\_\hglue1pt\_ "}), follow it with consecutive underscores, one for each extra +note, and finally a space. It will be printed with a continuous underscore. +To extend a syllable within a word (like {\tt "lyr---ics"}), insert one extra hyphen +(with no spaces) for each +extra note, and it will be printed with some number of hyphens filling the proper +space between syllables. Conversely, a tilde ({\tt \char126}) between two words +(with no spaces) prints a space between them while assigning the last syllable of the +first and the first syllable of the second to a single note\footnote{This is just an +example of using a standard \TeX\ feature within lyrics.}. So in the end, in a voice +with lyrics, every note must be associated with a syllable, its extension, or two +syllables joined with a tilde. + +Although underscores within a word or consecutive hyphens at the end may not crash the +code, they are not recommended for any foreseen useful purpose. + +Accented characters can be included in lyrics or elsewhere in several different ways. Here +we provide examples for just one of those methods, one which uses special \TeX~commands. +The following \PMX input contains most of the available accented characters and +leads to the example pictured below. + +\begin{verbatim} +"\'o \`o \^o \"o \~o \=o \.o \u{o} \v{o} \H{o} \t{oo}"@b+4 +c44 d e f g a b c c- d e r / + +"\c{o} \d{o} \b{o} {\oe} {\OE} {\ae} {\AE} {\aa} {\AA} {\o} {\O} {\l} {\L} {\ss}" +c44 d e f g a b c c- d e8 f g a / +\end{verbatim} + +\includegraphics[scale=1.0]{accents.eps} + +By default, lyrics will be placed below the staff where they are entered, half way between that +and the next lower staff. You may want to +alter the vertical position of a lyrics line, especially if both voices in +a staff have lyrics. This is accomplished with the opfion {\tt @}, immediately +following the closing quote of the +lyrics string with no space. That must be followed by either {\tt a} or {\tt b} for +{\bf a}bove or {\bf b}elow the staff, then a signed integer for the number of +\bs{\tt internote}s above or below the default height. This command is "sticky"; it +will remain in force for later lyrics in the same voice until altered. + +It may also be necessary to allow extra vertical space where the lyrics are positioned. +There is no \PMX command for this, but type 2 inline \TeX~can be used to insert extra +vertical space above any instrument. For example, if the voice is in instrument \#2 and +lyrics are below that staff, +\bs\bs{\tt interinstrument=0\bs internote\bs setinterinstrument1\{8\bs internote\}}\bs~ will +add \newline 8 \bs{\tt internote}s in the space for the lyrics. + +Present limitations allow lyrics at upper and lower voices on the bottom two +staves of instruments 1 to 4. Elsewhere they are quietly ignored. + +Most scores with lyrics will benefit from the type 2 command \bs\bs{\tt sepbarrules}\bs, which +stops bar lines from crossing through the vertical space between instruments. + +The notation {\tt "us-ing lyr---ics now\_\hglue1pt\_ "} is actually shorthand for the inline \TeX\ +string {\tt\bs pmxlyr\{us-ing lyr---ics now\_\hglue1pt\_ \}\bs}. All the rules given in +section~\ref{LitTeX}~for +Type~1 \TeX\ strings apply. To ensure that the length of all the Type 1 \TeX\ +strings belonging to a particular note combined does not exceed 128, remember +to account for the nine characters in {\tt\bs pmxlyr\{\}}. + +The sample files {\tt prad5.pmx} and {\tt netsoos.pmx} illustrate many aspects of +this direct method for entering lyrics in pure \PMX. + +This way of entering lyrics is a convenient interface to a subset of the +facilities offered by {\tt musixlyr}. If more advanced features than those supported by +{\tt\bs pmxlyr} are needed, the necessary {\tt musixlyr} macros could be manually +entered as in-line \TeX\ directly into the .pmx file. + +If really advanced features are needed (such as having several verses of lyrics +at once), most users 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. + +\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} \label{Repeats} + + 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{Bar numbers} + + By default \PMX will place a boxed bar number at the start of every system +except the first, above the clef at the beginning of the top staff. Numbers start at +1 unless the first bar is a pickup included in the first input block, in which case +the pickup bar is numbered 0. There is no way to change any of this except with +inline \TeX. + + There are several ways to modify specific aspects of bar numbering +when blank gaps have been inserted (see section~\ref{Gaps}), or to continue +numbering rather than resetting to zero at a movement break +(see section~\ref{movbrk}). + + If you wish to mover the bar number box at the start of any system, +enter the type 1 inline \TeX~ command {\tt\bs bnrs[i][j]} anywhere in the +system before the linebreak, where {\tt [i]} is the vertical shift in +{\tt \bs internotes} and {\tt [j]} is the horizontal shift in notehead +widths. + +\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. + +\medskip +%\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}. + +Lyrics may be entered as described in section~\ref{lyrics}.\NEW{2.73} + +\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 Add extra vertical space before and/or page eject (last resort)}\NEW{2.8} +As a last resort in getting the right spacing at the top or bottom of a page, +the option {\tt V} will insert a vertical skip of the specified number of +{\tt \bs Internote}s before and after the next page eject. It must be followed by +{\tt +} or {\tt -}, then a number, then another {\tt +} or {\tt -} and number. + +{\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 (which is the default). \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{Blank gaps} \label{Gaps} + +A blank gaps can be insterted in the middle or at the end of almost any system. +The middle gap might be used to create a very short coda at the end of a +system. The end gap leaves the system shorter than the others. Both types +create a space that could be used for text comments. + +Both types of gapped systems are initiated by an option to an {\tt L} command at +the beginning of the system in question. The syntax is +{\tt L}[{\it n}]{\tt S}[{\it x}] where [{\it n}] is the system number, +[{\it x}] is the fraction of the width of the system up to the beginning of the +gap, and no brackets are to be entered. This must be soon followed by a normal +{\tt L}[{\it n+1}] command to start the next line. With no intervening {\tt LC} +command (see below), the system entered between the two {\tt L}'s will simply +start at the left margin and be shortened to a length of {\it x} times the +default. + +To create a middle gap, begin as above with {\tt L}[{\it n}]{\tt S}[{\it x}] +followed by the material to the left of the gap. Then enter {\tt LC}[{\it y}] +to insert a gap followed by another segment of music extending to the end of +the system. Here {\it y} is the fraction of the total system length occupied +by the second segment (so the fraction of the width occupied by the gap will +be 1-{\it x}-{\it y} ). The second segment must soon be followed by +{\tt L}[{\it n+1}] to start the next normal line. Obviously {\it x}+{\it y} +must be less than 1. + +Normally a bar number will appear at the beginning of the second segment after +a gap. To suppress this, use {\tt LC}[{\it y}]{\tt n} to start the second +segment. + +If you want to insert text into the gap, one way is to use the text-dynamics +command after the last note before the gap: +{\tt D"}{\it text}{\tt "}[{\tt +},{\tt -}][{\it n}][{\tt +},{\tt -}][{\it m}] , where +{\it n} and {\it m} are the vertical and horizontal offsets from default +position. Some trial and error will always be needed here. + +In a system with a gap, the default barline at the end of one or two segments +of music will be a single bar unless the following line starts a new movement +in which case it will be a double bar. If you want to change either of these +segment-ending barline symbols to something else, then after the last note in +the lowest voice before the gap, you may use the normal ``repeat'' command, +e.g. {\tt RD} for a thin-thick double bar, or with other options for different +symbols as explained in \ref{Repeats}. If you use this option, it must be +immediately followed by a space and {\tt /} to end the input block. So in +particular if you have entered some text with the {\tt D} command, that must +come before the {\tt R} command. + +Here is an example \PMX file incorporating the different types of gaps, +followed by the output it produces: + +%\pagebreak +\begin{verbatim} +1 1 2 4 2 4 0 -1 +1 9 20 .1 +Harp +t +.\ +h7.4i +Abe +h +Movement 1 +f44 g a g f g a g / +L2S.4 +f44 g a g a g D"\bigfont Hello"+8+8 / +LC.4 +f44 g a g a g / +L3 +f44 g a g f g a g / +L4Mi.1+11 +h +Movement 2 +f44 g a g f g a g / +f44 g a g oC+1+6 f g a g / +L6S.4 +f44 g a g a g + D"\bigfont D.C. al"+10+6 D"\bigfont Coda"+4+6 RD / +LC.4n +f44 oC+2 D"\bigfont Coda"+18-8 g a g a g / +L7Mi.1+11 +h +Movement 3 +f44 g a g f g a g / +f44 g a g f g a g / +L9S.8 +f44 g a g a g D"\BIgfont The end"+6+11 / +\end{verbatim} + +\includegraphics[scale=.7]{gapxmpl.eps} + +\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 would like to +change the vertical alignment for the remainder of the staff starting at a +figure after the first, \NEW{2.71}append {\tt v}[{\it n}], where {\it n} is an +integer representing the vertical shift in \bs{\tt internote}s, which may +have a minus sign. + +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}. + +%\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. + +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. + +75 \NEW{2.78} 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} + +9600 \NEW{2.78} lines in input file + +\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.. +% +\ \ \ \ \ \kern6pt 131072 \NEW{2.78} bytes in the entire input file + +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. + +{\tt prad5.pmx} {\tt netsoos.pmx} are examples of how to enter lyrics purely in \PMX. +They include several inline \TeX\ commands to enhance the layout. + +{\tt staffcrossall.pmx}\NEW{2.74} contains examples of staff-crossing chords. Some are +single-stemmed, some are beamed non-xtuplets, and finally beamed xtuplets. + +{\tt dyntest.pmx} contains examples showing the default vertical positions of dynamic marks. + +\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 {\tt\bs pmxlyr} +and {\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/ref284.pdf b/Master/texmf-dist/doc/generic/pmx/ref284.pdf deleted file mode 100644 index 422a0b12f2d..00000000000 Binary files a/Master/texmf-dist/doc/generic/pmx/ref284.pdf and /dev/null differ diff --git a/Master/texmf-dist/doc/generic/pmx/ref284.tex b/Master/texmf-dist/doc/generic/pmx/ref284.tex deleted file mode 100644 index 0355f13e360..00000000000 --- a/Master/texmf-dist/doc/generic/pmx/ref284.tex +++ /dev/null @@ -1,480 +0,0 @@ -%%%%%%%%%%%%%%%%% -%% -%% ref284.tex (latex) -%% -%%%%%%%%%%%%%%%%% -\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 2.84, -February 2018~~~ -\hfill 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,L {\it x}] & Shrink or lengthen stem length by {\it x} \bs{\tt internote}.\\ -\ \ [:] & Make it sticky.\\ -\ [S,L :] & Shrink or lengthen this stem, then return to default.\\ -\ [Ao] & In main chord note, post accidentals in order entered.\\ -\ [T] & Single-note tremolo (slashes across stem).\\ -\ \ [1,2,3] & Number of slashes; 1 is default.\\ -\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.\\ -\ [xT] & Start a 2-note tremolo.\\ -\ \ [0,1,2,3] & Number of main beams between 2 notes.\\ -\ \ \ [0,1,2,3] & Number of indented beams.\\ -\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 n} & Horizontal shift, points. \\ -\ G & Smaller segno, any voice. \\ -\ \ [[-]{\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. \\ -\ C & Coda. \\ -\ [+,- {\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/tie toggle, after note. With {\tt Ap}, {\tt t} or {\tt\}} causes - true tie.\\ -(;\{ & Placed before note, same as {\tt s} or {\tt\}} 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 direction. Only allowed at slur/tie 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 curve. For font-based, on end - only. For Type K linebrk, 1st seg if on start, - 2nd 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.\\ -\ \ \ [s +,- {\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.\\ -\ [v] & Stem slur, postscript only.\\ -\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.\\ -\ [cl,c4] & Set vert. and horiz. page sizes and offsets for letter or a4 paper.\\ -\ [V +,- {\it n1} +,- {\it n2}] & Vertical skips, \bsn{}internotes, before and after next - ~\bsn{}eject.\\ -\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,8 or 0-8} & {\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, octave treble\\ -\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.\\ -\ [v] & Start vertical shift for this line.\\ -\ \ [+,- {\it i}] & Vertical offset, \bsn{}internotes.\\ -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.\\ -\dhline -"\break\null\ {\it text}" & Lyrics. See pmx274.pdf section 2.2.14 for details.\\ -\ \ [@] & Set a vertical offset\\ -\ \ \ a,b & Above or below the staff\\ -\ \ \ \ +,- {\it i} & Amount of offset, \bsn{}internotes\\ -\hline -\end{tabular} -\end{center} -\end{multicols} -} -\end{document} diff --git a/Master/texmf-dist/doc/generic/pmx/ref294.pdf b/Master/texmf-dist/doc/generic/pmx/ref294.pdf new file mode 100644 index 00000000000..6161911998f Binary files /dev/null and b/Master/texmf-dist/doc/generic/pmx/ref294.pdf differ diff --git a/Master/texmf-dist/doc/generic/pmx/ref294.tex b/Master/texmf-dist/doc/generic/pmx/ref294.tex new file mode 100644 index 00000000000..28c426f6632 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pmx/ref294.tex @@ -0,0 +1,487 @@ +%%%%%%%%%%%%%%%%% +%% +%% ref294.tex (latex) +%% +%%%%%%%%%%%%%%%%% +\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 2.94, +Jan 2020~~~ +\hfill 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} or {\it y} 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,L {\it x}] & Shrink or lengthen stem length by {\it x} \bs{\tt internote}.\\ +\ \ [:] & Make it sticky.\\ +\ [S,L :] & Shrink or lengthen this stem, then return to default.\\ +\ [Ao] & In main chord note, post accidentals in order entered.\\ +\ [T] & Single-note tremolo (slashes across stem).\\ +\ \ [1,2,3] & Number of slashes; 1 is default.\\ +\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.\\ +\ [xT] & Start a 2-note tremolo. Next note is 2nd note. If starting note + has {\tt d}, 2nd note must not, unless dot needs to be moved.\\ +\ \ [0,1,2,3] & Number of main beams between 2 notes.\\ +\ \ \ [0,1,2,3] & Number of indented beams.\\ +\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.\\ +\ \ [n{\it j}] & Put number at level {\it j}. Default is 9, below staff + is -6. Change is ``sticky''.\\ +\ [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 n} & Horizontal shift, points. \\ +\ G & Smaller segno, any voice. \\ +\ \ [[-]{\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. \\ +\ C & Coda. \\ +\ [+,- {\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/tie toggle, after note. With {\tt Ap}, {\tt t} or {\tt\}} causes + true tie.\\ +(;\{ & Placed before note, same as {\tt s} or {\tt\}} 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 direction. Only allowed at slur/tie 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 curve. For font-based, on end + only. For Type K linebrk, 1st seg if on start, + 2nd 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.\\ +\ \ \ [s +,- {\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.\\ +\ [v] & Stem slur, postscript only.\\ +\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.\\ +\ [cl,c4] & Set vert. and horiz. page sizes and offsets for letter or a4 paper.\\ +\ [V +,- {\it n1} +,- {\it n2}] & Vertical skips, \bsn{}internotes, before and after next + ~\bsn{}eject.\\ +\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,8 or 0-8} & {\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, octave treble\\ +\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.\\ +\ [S{\it x}] & Shorten this system to fraction {\it X} of orig.\\ +LC{\it y} & After L{\it i}S{\it x} and after gap, short segment of + length fraction {\it y} to end of system.\\ +\ [n] & Suppress bar number at start of 2nd segment\\ +\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. \\ +\newcol +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 \\ +\dhline +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).\\ +\newcol +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.\\ +\dhline +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.\\ +\ [v] & Start vertical shift for this line.\\ +\ \ [+,- {\it i}] & Vertical offset, \bsn{}internotes.\\ +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 \\ +\newcol +][ & 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} . \\ +\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.\\ +\newcol +"\break\null\ {\it text}" & Lyrics. See pmx294.pdf section 2.2.15 for details.\\ +\ \ [@] & Set a vertical offset\\ +\ \ \ a,b & Above or below the staff\\ +\ \ \ \ +,- {\it i} & Amount of offset, \bsn{}internotes\\ +\hline +\end{tabular} +\end{center} +\end{multicols} +} +\end{document} diff --git a/Master/texmf-dist/doc/generic/pmx/sjb291.eps b/Master/texmf-dist/doc/generic/pmx/sjb291.eps new file mode 100644 index 00000000000..d00e4f363d7 --- /dev/null +++ b/Master/texmf-dist/doc/generic/pmx/sjb291.eps @@ -0,0 +1,1208 @@ +%!PS-Adobe-3.0 EPSF-3.0 +%%Creator: dvips(k) 5.993 Copyright 2013 Radical Eye Software +%%Title: sjb291.dvi +%%CreationDate: Sat Jun 08 08:40:31 2019 +%%Pages: 1 +%%PageOrder: Ascend +%%BoundingBox: 38 451 442 745 +%%DocumentFonts: TeXMUSIXSPX-Regular TeXMUSIX20-Regular CMBX12 CMBX8 +%%DocumentPaperSizes: Letter +%%EndComments +%DVIPSWebPage: (www.radicaleye.com) +%DVIPSCommandLine: dvips -O0.25in,-0.22in -tletter sjb291 +%DVIPSParameters: dpi=600 +%DVIPSSource: TeX output 2019.06.08:0840 +%%BeginProcSet: tex.pro 0 0 +%! +/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/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]{Ci}imagemask +restore}B/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 +/dir 0 def/dyy{/dir 0 def}B/dyt{/dir 1 def}B/dty{/dir 2 def}B/dtt{/dir 3 +def}B/p{dir 2 eq{-90 rotate show 90 rotate}{dir 3 eq{-90 rotate show 90 +rotate}{show}ifelse}ifelse}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 + +%%EndProcSet +%%BeginProcSet: psslurs.pro 0 0 +% This file can be used instead of psslurs.pro, it is only commented +% and indented. +% +% VERSION: 1.01 +% +% 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: +% stanislav@kneifl.net +% 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) +/psxGD { dup length 2 sub 0 exch getinterval cvr 1.045 mul} def +% get dimen adjusted to Resolution +/psxGDAR { dup length 2 sub 0 exch getinterval cvr 4 psxAR mul 1.045 mul} def +% Adjust to Resolution +/psxAR { 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 +/psxAR { 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 { + psxAR /maxe ED + /ifadjust ED + /ifdash ED + psxAR /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 psxAR 2 mul def % b=2*sqrt(x2) + b 3 psxAR lt {/b 3 psxAR 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 psxAR def + linew 4 mul setlinewidth + 1 setlinecap + 0 setlinejoin + ifdash 1 eq + { [internote 8 mul psxAR internote 5 mul psxAR] 0 setdash } if + x1 y1 shift neg 2 mul internote mul 4 psxAR mul add translate + s rotate +% [1 sx 0 1 0 0] concat + +% uncomment this to see the control points +% 5 psxAR 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 psxAR gt { + 3 VS + drawseg + } if + x2 50 psxAR gt { + -4 VS + drawseg + } if + x2 80 psxAR 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 psxAR ceiling setlinewidth % line thickness: this results + 1 setlinecap % to exactly 2 pixels in 300 dpi + 1 setlinejoin + x2 y2 10 psxAR add moveto % the 10's specify wideness of the + x1 y1 lineto % open end of the crescendo, + x2 y2 10 psxAR sub lineto % similarly the 11's below + stroke + grestore +} def + +% half crescendos +/DHC { + /y2 ED + /x2 ED + /y1 ED + /x1 ED + gsave + 1 psxAR ceiling setlinewidth + 1 setlinecap + 1 setlinejoin + x2 y2 11 psxAR add moveto + x1 y1 4 psxAR add lineto stroke + x1 y1 4 psxAR sub moveto + x2 y2 11 psxAR sub lineto + stroke + grestore +} def + +% differenced line + +/DLN { + gsave + psxGDAR ceiling setlinewidth + psxGDAR exch psxGDAR neg rlineto + stroke + grestore +} def + +% sloped line + +/DSLN { + gsave + psxGDAR ceiling setlinewidth + psxGDAR exch 1.125 mul neg rotate 0 rlineto + stroke + grestore +} def + +% free line (init & terminate) + +/DFLN { + gsave + psxGDAR ceiling setlinewidth + CP moveto + lineto + stroke + grestore +} def + +end + + +%%EndProcSet +%%BeginProcSet: texps.pro 0 0 +%! 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Jones +%Copyright: Copyright (c) 1997, 2009 American Mathematical Society +%Copyright: (), with Reserved Font Name CMR10. +% This Font Software is licensed under the SIL Open Font License, Version 1.1. +% This license is in the accompanying file OFL.txt, and is also +% available with a FAQ at: http://scripts.sil.org/OFL. +%%EndComments +FontDirectory/CMR10 known{/CMR10 findfont dup/UniqueID known{dup +/UniqueID get 5000793 eq exch/FontType get 1 eq and}{pop false}ifelse +{save true}{false}ifelse}{false}ifelse +11 dict begin +/FontType 1 def +/FontMatrix [0.001 0 0 0.001 0 0 ]readonly def +/FontName /CMR10 def +/FontBBox {-40 -250 1009 750 }readonly def +/UniqueID 5000793 def +/PaintType 0 def +/FontInfo 9 dict dup begin +/version (003.002) readonly def +/Notice (Copyright \050c\051 1997, 2009 American Mathematical Society \050\051, with Reserved Font Name CMR10.) readonly def +/FullName (CMR10) readonly def +/FamilyName (Computer Modern) readonly def +/Weight (Medium) readonly def 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2139 910 a(\007)2257 972 +y(>)2496 1159 y Fa(fast)2496 1076 y(eigh)n(th)p 2544 +951 4 144 v 2497 951 a Fc(\007)2579 841 y(\223)2597 838 +y(\223)2545 816 y(\224)2599 805 y(\224)p 2663 910 4 127 +v 2616 910 a(\007)p 2734 973 4 168 v 2750 973 25 168 +v eop end +%%Trailer + +userdict /end-hook known{end-hook}if +%%EOF diff --git a/Master/texmf-dist/doc/man/man1/pmxab.man1.pdf b/Master/texmf-dist/doc/man/man1/pmxab.man1.pdf index f2c345f37d2..392d0b5abeb 100644 Binary files a/Master/texmf-dist/doc/man/man1/pmxab.man1.pdf and b/Master/texmf-dist/doc/man/man1/pmxab.man1.pdf differ diff --git a/Master/texmf-dist/doc/man/man1/scor2prt.man1.pdf b/Master/texmf-dist/doc/man/man1/scor2prt.man1.pdf index d58a2df2fdd..0d38918fbf0 100644 Binary files a/Master/texmf-dist/doc/man/man1/scor2prt.man1.pdf and b/Master/texmf-dist/doc/man/man1/scor2prt.man1.pdf differ diff --git a/Master/texmf-dist/scripts/pmx/pmx2pdf.lua b/Master/texmf-dist/scripts/pmx/pmx2pdf.lua deleted file mode 100755 index 41cff58cc7f..00000000000 --- a/Master/texmf-dist/scripts/pmx/pmx2pdf.lua +++ /dev/null @@ -1,5 +0,0 @@ -#!/usr/bin/env texlua - -print ("The pmx2pdf[.lua] script has been retired; please switch") -print ("to the musixtex script, which now processes .pmx files.") - diff --git a/Master/texmf-dist/tex/generic/pmx/pmx.tex b/Master/texmf-dist/tex/generic/pmx/pmx.tex index 36fd8d23871..3576f581cf6 100644 --- a/Master/texmf-dist/tex/generic/pmx/pmx.tex +++ b/Master/texmf-dist/tex/generic/pmx/pmx.tex @@ -4,7 +4,8 @@ %% %% %%%%%%%%%%%%%%%%%%%%%%% \ifx\pmxversion\undefined\else\endinput\fi -\def\pmxversion{2.80}\def\pmxdate{15 Mar 17} +\def\pmxversion{2.94}\def\pmxdate{23 Jan 20} +% 2.94 add def'ns of \hbp, \hbpp % 2.80 add def'n of \slx, real stemlength % 2.73 4 Feb 16 Fix \pmxclefsym to include \smalltreblelowoct % 2.73 Added \pmxlyr command. @@ -765,8 +766,10 @@ depth \h@lf\pcil width \razclef\kern-\h@lf\razclef\kern-\h@lf\pcil\kern-.1pt % 160103 back to 3 args % \def\mbgap{\qsk\hqsk}% +\def\mbrhgt{9}% \def\mbrest#1#2#3{% -\CenterBar{\ccn{9}{\meterfont#1}}{#2}{#3}% +%\CenterBar{\ccn{9}{\meterfont#1}}{#2}{#3}% +\CenterBar{\ccn{\mbrhgt}{\meterfont#1}}{#2}{#3}% \CenterBar{% \ifcase #1% \relax% @@ -850,7 +853,17 @@ depth \h@lf\pcil width \razclef\kern-\h@lf\razclef\kern-\h@lf\pcil\kern-.1pt % \def\lk{\lyrlink}% \def\at#1{\lyrraisehere{#1\internote}}% - +% +% 190526 Items for short line enhancements +% +\let\wbnt\writebarno +\def\nobarno{\gdef\writebarno{\global\let\writebarno\wbnt}} +% +% 200123 Open headed dotted chord notes +% +\def\hbp{\h@symbol\@qbp}% +\def\hbpp{\h@symbol\@qbpp}% +% \catcode`\@=\catcodeat \endinput diff --git a/Master/tlpkg/libexec/ctan2tds b/Master/tlpkg/libexec/ctan2tds index 7ddcd9c2f2f..748119d799b 100755 --- a/Master/tlpkg/libexec/ctan2tds +++ b/Master/tlpkg/libexec/ctan2tds @@ -1428,6 +1428,7 @@ chomp (my $ctan_root = `tlpkginfo --ctan-root`); 'pictex' => '&PREHOOK_pictex', 'pkuthss' => '&PREHOOK_flatten1', 'plex-otf' => '&PREHOOK_flatten1', + 'pmx' => '&PREHOOK_pmx', 'prosper' => '&PREHOOK_prosper', 'skb' => '&PREHOOK_flatten1', 'suftesi' => '&PREHOOK_suftesi', @@ -5661,6 +5662,12 @@ sub PREHOOK_pictex { &SYSTEM ("$RM -rf addon/autoarea*"); } +sub PREHOOK_pmx { + print "PREHOOK_$package - rm prebuilt binaries, up one level\n"; + &SYSTEM ("$RM -rf OSX Windows* source"); + &SYSTEM ("$MV doc/* tex/* ."); +} + sub PREHOOK_prosper { print "PREHOOK_$package - handle image conflicts\n"; # some files different between img/ and contrib/img; prefer @@ -6877,10 +6884,16 @@ sub POST_do_man { } sub POST_preserve_bin { - # the pmx package includes binaries made from Build, and normal - # scripts and support files. The latter can get updated without - # needing to update the former, so we support it. Which means + # the pmx package, among others, includes binaries made from Build, + # and normal scripts and support files. The latter can get updated + # without needing to update the former, so we support it. Which means # preserving the binaries from the Build. + # + # The ctan2tds output will look weird since all the binaries will show + # up as new files, since they are in . subpackages. And + # thus the svn run will get errors that they can't be added, also. But + # since they don't actually need to be committed (that is the whole + # point of preserving them), no harm done. my (@binaries) = @_; chomp (my @platforms = `cd $Master/bin && ls`); for my $p (@platforms) { -- cgit v1.2.3