From f4500709457661ea04dfb225ac2a311bb5f9941c Mon Sep 17 00:00:00 2001 From: Karl Berry Date: Sun, 31 Oct 2010 23:59:08 +0000 Subject: musixtex (30oct10) git-svn-id: svn://tug.org/texlive/trunk@20275 c570f23f-e606-0410-a88d-b1316a301751 --- Master/texmf-dist/doc/generic/musixtex/CHANGES | 31 - Master/texmf-dist/doc/generic/musixtex/README | 114 - .../texmf-dist/doc/generic/musixtex/README.psfonts | 111 - .../texmf-dist/doc/generic/musixtex/backgrnd.sty | 320 - .../doc/generic/musixtex/examples/8bitchar.tex | 12 + .../doc/generic/musixtex/examples/avemaria.tex | 3 +- .../doc/generic/musixtex/examples/canticor.tex | 23 - .../doc/generic/musixtex/examples/canticox.tex | 156 - .../generic/musixtex/examples/changecontext.tex | 95 + .../doc/generic/musixtex/examples/coulhack.tex | 70 + .../doc/generic/musixtex/examples/fantaisi.tex | 4 +- .../doc/generic/musixtex/examples/fstsaens.tex | 174 + .../doc/generic/musixtex/examples/gloriab.tex | 12 +- .../doc/generic/musixtex/examples/glorias.tex | 6 +- .../doc/generic/musixtex/examples/ilestne.tex | 11 +- .../doc/generic/musixtex/examples/ilestnex.tex | 19 +- .../doc/generic/musixtex/examples/kv315org.tex | 813 ++ .../generic/musixtex/examples/musixdbrexample.tex | 52 + .../doc/generic/musixtex/examples/onuitbri.tex | 13 +- .../doc/generic/musixtex/examples/onuitbrx.tex | 16 +- .../doc/generic/musixtex/examples/ossiaexa.tex | 30 + .../doc/generic/musixtex/examples/pacifiqb.tex | 9 + .../doc/generic/musixtex/examples/pacifiqc.tex | 1063 -- .../doc/generic/musixtex/examples/pacifiqn.tex | 187 +- .../doc/generic/musixtex/examples/pacifiqt.tex | 10 + .../doc/generic/musixtex/examples/partitur.tex | 433 + .../doc/generic/musixtex/examples/pslurvgap.tex | 21 + .../doc/generic/musixtex/examples/quod.tex | 188 + .../doc/generic/musixtex/examples/racine.tex | 596 + .../doc/generic/musixtex/examples/recueil.tex | 29 +- .../doc/generic/musixtex/examples/rests.tex | 227 + .../doc/generic/musixtex/examples/reves.tex | 543 + .../doc/generic/musixtex/examples/scale.tex | 67 + .../doc/generic/musixtex/examples/widor.tex | 82 +- .../doc/generic/musixtex/examples/widor_16.tex | 9 +- .../doc/generic/musixtex/examples/widor_20.tex | 9 +- Master/texmf-dist/doc/generic/musixtex/license.txt | 20 - .../texmf-dist/doc/generic/musixtex/musixdoc.bat | 16 - .../texmf-dist/doc/generic/musixtex/musixdoc.mx1 | 937 -- .../texmf-dist/doc/generic/musixtex/musixdoc.mx2 | 41 - .../texmf-dist/doc/generic/musixtex/musixdoc.sty | 40 +- .../texmf-dist/doc/generic/musixtex/musixdoc.tex | 10782 ++++++++++--------- Master/texmf-dist/doc/generic/musixtex/musixflx.1 | 36 - .../doc/generic/musixtex/musixlyr/README.musixlyr | 74 + .../generic/musixtex/musixlyr/README.underbracket | 64 + .../musixtex/musixlyr/examples/nonmoriar.dvi | Bin 0 -> 1492 bytes .../musixtex/musixlyr/examples/nonmoriar.pdf | Bin 0 -> 11229 bytes .../musixtex/musixlyr/examples/nonmoriar.tex | 23 + .../doc/generic/musixtex/musixlyr/mxlyrdoc.dvi | Bin 0 -> 97076 bytes .../doc/generic/musixtex/musixlyr/mxlyrdoc.pdf | Bin 0 -> 245264 bytes .../doc/generic/musixtex/musixlyr/mxlyrdoc.tex | 1876 ++++ .../texmf-dist/doc/generic/musixtex/musixre1.pdf | Bin 0 -> 50935 bytes .../texmf-dist/doc/generic/musixtex/musixre1.tex | 286 + .../doc/generic/musixtex/psfonts/CHANGES.psfonts | 34 + .../doc/generic/musixtex/psfonts/README.psfonts | 114 + .../doc/generic/musixtex/psslurs/README.psslurs | 36 + .../doc/generic/musixtex/psslurs/slurs.pdf | Bin 0 -> 16083 bytes .../doc/generic/musixtex/psslurs/slurs.tex | 77 + .../texmf-dist/doc/generic/musixtex/sottieng.pdf | Bin 0 -> 116145 bytes .../texmf-dist/doc/generic/musixtex/sottieng.tex | 1075 ++ Master/texmf-dist/dvips/musixtex/config.musixtex | 1 - Master/texmf-dist/dvips/musixtex/psslurs.pro | 282 + .../texmf-dist/fonts/map/dvips/musixtex/musix.map | 1 + .../fonts/source/public/musixtex/mxsk.mf | 100 + .../texmf-dist/fonts/tfm/public/musixtex/mxsk.tfm | Bin 0 -> 916 bytes .../fonts/type1/public/musixtex/mxsk.pfb | Bin 0 -> 8593 bytes Master/texmf-dist/tex/generic/musixtex/curly.tex | 44 + .../texmf-dist/tex/generic/musixtex/musixadd.tex | 2 +- .../texmf-dist/tex/generic/musixtex/musixbar.tex | 2 +- .../texmf-dist/tex/generic/musixtex/musixbbm.tex | 2 +- .../texmf-dist/tex/generic/musixtex/musixblx.tex | 2 +- Master/texmf-dist/tex/generic/musixtex/musixbm.tex | 2 +- .../texmf-dist/tex/generic/musixtex/musixcho.tex | 2 +- .../texmf-dist/tex/generic/musixtex/musixcpt.tex | 33 +- .../texmf-dist/tex/generic/musixtex/musixdat.tex | 2 +- .../texmf-dist/tex/generic/musixtex/musixdbr.tex | 250 + .../texmf-dist/tex/generic/musixtex/musixdia.tex | 2 +- .../texmf-dist/tex/generic/musixtex/musixeng.tex | 2 +- .../texmf-dist/tex/generic/musixtex/musixesf.tex | 79 + .../texmf-dist/tex/generic/musixtex/musixevo.tex | 2 +- .../texmf-dist/tex/generic/musixtex/musixext.tex | 2 +- .../texmf-dist/tex/generic/musixtex/musixfll.tex | 2 +- .../texmf-dist/tex/generic/musixtex/musixgre.tex | 2 +- .../texmf-dist/tex/generic/musixtex/musixgui.tex | 2 +- .../texmf-dist/tex/generic/musixtex/musixhor.tex | 3 +- .../texmf-dist/tex/generic/musixtex/musixhou.tex | 2 +- .../texmf-dist/tex/generic/musixtex/musixlex.tex | 1201 +++ .../texmf-dist/tex/generic/musixtex/musixlit.tex | 2 +- .../texmf-dist/tex/generic/musixtex/musixltx.tex | 2 +- .../texmf-dist/tex/generic/musixtex/musixlyr.tex | 1162 ++ .../texmf-dist/tex/generic/musixtex/musixmad.tex | 7 +- .../texmf-dist/tex/generic/musixtex/musixper.tex | 2 +- .../texmf-dist/tex/generic/musixtex/musixpoi.tex | 19 +- Master/texmf-dist/tex/generic/musixtex/musixps.tex | 961 ++ .../texmf-dist/tex/generic/musixtex/musixstr.tex | 2 +- .../texmf-dist/tex/generic/musixtex/musixsty.tex | 2 +- .../texmf-dist/tex/generic/musixtex/musixtex.ins | 7 - .../texmf-dist/tex/generic/musixtex/musixtex.tex | 474 +- .../texmf-dist/tex/generic/musixtex/musixtmr.tex | 74 + .../texmf-dist/tex/generic/musixtex/musixtri.tex | 4 +- Master/texmf-dist/tex/generic/musixtex/tuplet.tex | 147 + .../tex/generic/musixtex/underbracket.sty | 190 + Master/tlpkg/bin/tlpkg-ctan-check | 2 +- Master/tlpkg/bin/tlpkginfo | 4 - 104 files changed, 18094 insertions(+), 8080 deletions(-) delete mode 100644 Master/texmf-dist/doc/generic/musixtex/CHANGES delete mode 100644 Master/texmf-dist/doc/generic/musixtex/README delete mode 100644 Master/texmf-dist/doc/generic/musixtex/README.psfonts delete mode 100644 Master/texmf-dist/doc/generic/musixtex/backgrnd.sty create mode 100644 Master/texmf-dist/doc/generic/musixtex/examples/8bitchar.tex delete mode 100644 Master/texmf-dist/doc/generic/musixtex/examples/canticor.tex delete mode 100644 Master/texmf-dist/doc/generic/musixtex/examples/canticox.tex create mode 100644 Master/texmf-dist/doc/generic/musixtex/examples/changecontext.tex create mode 100644 Master/texmf-dist/doc/generic/musixtex/examples/coulhack.tex create mode 100644 Master/texmf-dist/doc/generic/musixtex/examples/fstsaens.tex create mode 100644 Master/texmf-dist/doc/generic/musixtex/examples/kv315org.tex create mode 100644 Master/texmf-dist/doc/generic/musixtex/examples/musixdbrexample.tex create mode 100644 Master/texmf-dist/doc/generic/musixtex/examples/ossiaexa.tex create mode 100644 Master/texmf-dist/doc/generic/musixtex/examples/pacifiqb.tex delete mode 100644 Master/texmf-dist/doc/generic/musixtex/examples/pacifiqc.tex create mode 100644 Master/texmf-dist/doc/generic/musixtex/examples/pacifiqt.tex create mode 100644 Master/texmf-dist/doc/generic/musixtex/examples/partitur.tex create mode 100644 Master/texmf-dist/doc/generic/musixtex/examples/pslurvgap.tex create mode 100644 Master/texmf-dist/doc/generic/musixtex/examples/quod.tex create mode 100644 Master/texmf-dist/doc/generic/musixtex/examples/racine.tex create mode 100644 Master/texmf-dist/doc/generic/musixtex/examples/rests.tex create mode 100644 Master/texmf-dist/doc/generic/musixtex/examples/reves.tex create mode 100644 Master/texmf-dist/doc/generic/musixtex/examples/scale.tex delete mode 100644 Master/texmf-dist/doc/generic/musixtex/license.txt delete mode 100644 Master/texmf-dist/doc/generic/musixtex/musixdoc.bat delete mode 100644 Master/texmf-dist/doc/generic/musixtex/musixdoc.mx1 delete mode 100644 Master/texmf-dist/doc/generic/musixtex/musixdoc.mx2 delete mode 100644 Master/texmf-dist/doc/generic/musixtex/musixflx.1 create mode 100644 Master/texmf-dist/doc/generic/musixtex/musixlyr/README.musixlyr create mode 100644 Master/texmf-dist/doc/generic/musixtex/musixlyr/README.underbracket create mode 100644 Master/texmf-dist/doc/generic/musixtex/musixlyr/examples/nonmoriar.dvi create mode 100644 Master/texmf-dist/doc/generic/musixtex/musixlyr/examples/nonmoriar.pdf create mode 100644 Master/texmf-dist/doc/generic/musixtex/musixlyr/examples/nonmoriar.tex create mode 100644 Master/texmf-dist/doc/generic/musixtex/musixlyr/mxlyrdoc.dvi create mode 100644 Master/texmf-dist/doc/generic/musixtex/musixlyr/mxlyrdoc.pdf create mode 100644 Master/texmf-dist/doc/generic/musixtex/musixlyr/mxlyrdoc.tex create mode 100644 Master/texmf-dist/doc/generic/musixtex/musixre1.pdf create mode 100644 Master/texmf-dist/doc/generic/musixtex/musixre1.tex create mode 100644 Master/texmf-dist/doc/generic/musixtex/psfonts/CHANGES.psfonts create mode 100644 Master/texmf-dist/doc/generic/musixtex/psfonts/README.psfonts create mode 100644 Master/texmf-dist/doc/generic/musixtex/psslurs/README.psslurs create mode 100644 Master/texmf-dist/doc/generic/musixtex/psslurs/slurs.pdf create mode 100644 Master/texmf-dist/doc/generic/musixtex/psslurs/slurs.tex create mode 100644 Master/texmf-dist/doc/generic/musixtex/sottieng.pdf create mode 100644 Master/texmf-dist/doc/generic/musixtex/sottieng.tex delete mode 100644 Master/texmf-dist/dvips/musixtex/config.musixtex create mode 100644 Master/texmf-dist/dvips/musixtex/psslurs.pro create mode 100644 Master/texmf-dist/fonts/source/public/musixtex/mxsk.mf create mode 100644 Master/texmf-dist/fonts/tfm/public/musixtex/mxsk.tfm create mode 100644 Master/texmf-dist/fonts/type1/public/musixtex/mxsk.pfb create mode 100644 Master/texmf-dist/tex/generic/musixtex/curly.tex create mode 100644 Master/texmf-dist/tex/generic/musixtex/musixdbr.tex create mode 100644 Master/texmf-dist/tex/generic/musixtex/musixesf.tex create mode 100644 Master/texmf-dist/tex/generic/musixtex/musixlex.tex create mode 100644 Master/texmf-dist/tex/generic/musixtex/musixlyr.tex create mode 100644 Master/texmf-dist/tex/generic/musixtex/musixps.tex delete mode 100644 Master/texmf-dist/tex/generic/musixtex/musixtex.ins create mode 100644 Master/texmf-dist/tex/generic/musixtex/musixtmr.tex create mode 100644 Master/texmf-dist/tex/generic/musixtex/tuplet.tex create mode 100644 Master/texmf-dist/tex/generic/musixtex/underbracket.sty diff --git a/Master/texmf-dist/doc/generic/musixtex/CHANGES b/Master/texmf-dist/doc/generic/musixtex/CHANGES deleted file mode 100644 index 984f109f364..00000000000 --- a/Master/texmf-dist/doc/generic/musixtex/CHANGES +++ /dev/null @@ -1,31 +0,0 @@ - PostScript (Type 1) Fonts for MusiXTeX - Ver 1.13 - - 19-February-2003 - - Takanori Uchiyama, uchiyama@appi.keio.ac.jp - -19-February-2003 - + Fix a problem that xslz20 disappears with Acrobat 5. - -15-July-2002 - + Fix broken fonts, xslhd11, xslhd11d, xslhd13, xslhd13d, xslhd16d, - xslhd24, xslhd29d. - -28-August-2001 - + Fix wrong width of musix13.pfb. - + Fix wrong width of xslhu11-29 and xslhu11d-29d. - -30-July-2001 - + Reducing control points. - + Hinted automatically with Fontographer. - + Upgrade from T101 to T102 (musix11 - 29, xslhz20, xslhz20d) - + PostScript names were changed. - Ex. TeX-musix20 --> TeXMUSIX20-Regular - + typo correction. - musix.tex --> musix.map - -13-July-2001 - + First release. - -[End of CHANGES] diff --git a/Master/texmf-dist/doc/generic/musixtex/README b/Master/texmf-dist/doc/generic/musixtex/README deleted file mode 100644 index 3490a07d215..00000000000 --- a/Master/texmf-dist/doc/generic/musixtex/README +++ /dev/null @@ -1,114 +0,0 @@ - PostScript (Type 1) Fonts for MusiXTeX - Ver 1.13 - - 19-February-2003 - - Takanori Uchiyama, uchiyama@appi.keio.ac.jp - -1. DESCRIPTION - -This package provides PostScript (type 1) fonts (PFB format), and dvips and -dvipdfm map files for MusiXTeX. The fonts are based on the original METAFONT -sources, such as musix20.mf, which are distributed with MusiXTeX. The fonts -provided here may be used to produce printer-independent Postscript files. PDF -files generated using type 1 fonts are well displayed by the Acrobat Reader and -xpdf. - -The fonts were generated from the METAFONT sources in the TeX Live CD 2000 July -using TeXtrace 0.45 or mftrace 1.0.12 but musix11-20, xslhz20 and xslhz20d -were upgraded to those in musixtex-T102.tar.gz. - -Here is a list of the 71 generated fonts. - -musix11.pfb xgreg24.pfb xsld29.pfb xslhd24.pfb xslhu24.pfb xslu20.pfb -musix13.pfb xgreg29.pfb xsld29d.pfb xslhd24d.pfb xslhu24d.pfb xslu20d.pfb -musix16.pfb xsld11.pfb xsldd20.pfb xslhd29.pfb xslhu29.pfb xslu24.pfb -musix20.pfb xsld11d.pfb xsldu20.pfb xslhd29d.pfb xslhu29d.pfb xslu24d.pfb -musix24.pfb xsld13.pfb xslhd11.pfb xslhu11.pfb xslhz20.pfb xslu29.pfb -musix29.pfb xsld13d.pfb xslhd11d.pfb xslhu11d.pfb xslhz20d.pfb xslu29d.pfb -musixsps.pfb xsld16.pfb xslhd13.pfb xslhu13.pfb xslu11.pfb xslud20.pfb -musixspx.pfb xsld16d.pfb xslhd13d.pfb xslhu13d.pfb xslu11d.pfb xslup20.pfb -xgreg11.pfb xsld20.pfb xslhd16.pfb xslhu16.pfb xslu13.pfb xslz20.pfb -xgreg13.pfb xsld20d.pfb xslhd16d.pfb xslhu16d.pfb xslu13d.pfb xslz20d.pfb -xgreg16.pfb xsld24.pfb xslhd20.pfb xslhu20.pfb xslu16.pfb xtie20.pfb -xgreg20.pfb xsld24d.pfb xslhd20d.pfb xslhu20d.pfb xslu16d.pfb - -Note: musix25 and xgreg25 were not generated because they are not used in - musixgre.tex or musixtex.tex. - - -The control points were reduced with Fontographer. -The fonts were hinted automatically with Fontographer. musix11 - 29 were -hand tuned by Takanori Uchiyama. - -2. METHOD - -Most of fonts were generated using TeXtrace 0.45 running on Mac OS X 10.0.4. -xslz20 was generated using mftrace 1.0.12 running on Mac OS X 10.2.3. -Thirty-two fonts were generated with the original traceall.sh script. Others -were generated with traceall.sh modified by Takanori Uchiyama. The modification -involved reducing resolution, corresponding to enlargement of "1 thou" in -traceall.sh. The following are lists of fonts that were generated with N-fold -thou scripts. - -twofold - musix11, musix13, xsld11, xsld11d, xsld13, xsld13d, xsld16, xsld16d, - xslhd13, xslhd13d, xslhd16, xslhd16d, xslhd20, xslhd20d, xslhd24d, - xslhu13, xslhu13d, xslhu16, xslhu16d, xslhu20, xslhu20d, xslhu24d, - xslu13, xslu13d, xslu16, xslu16d, xslud20 - -threefold - musixsps, musixspx, xslhd11, xslhd11d, xslhu11, xslhu11d, xslz20, xslz20d - -fivefold - xslhz20, xslhz20d, xtie20 - -The reason for reducing resolution is that METAFONT supports only limited -values of real numbers and so cannot generate very high resolution MusiXTeX -fonts. - -3. INSTALLATION - - 1) Make a directory such as $TEXMF/fonts/type1/musixtex, for PFBs. - 2) Copy all PFBs to the above directory; they should be readable by all users. - 3) Copy the map file ./dvips/musix.map to the appropriate directory, such as - $TEXMF/dvips/config - 4) Add a line - - p +musix.map - - to a suitable config.xxx file or, in a tetex-based distribution, add - musix.map to the list of map files for Type1 fonts with Metafont - equivalents in the updmap script, which should then be executed - by doing "./updmap". - 5) Copy the map file ./dvipdfm/musix.map to the appropriate directory, such as - $TEXMF/dvipdfm/config - 6) Add a line - - f musix.map - - to the config file. - 7) Do mktexlsr or texhash or whatever is necessary on your system to - re-generate the TeX database. - -When these fonts are used, type 1 fonts should also be used for non-music text; -for example, type 1 versions of the Computer Modern fonts are available. - -4. TODO - - + Hinting - + Modifying METAFONT sources to get high resolution outputs - -5. LICENSE - - The license of this package is LPPL. - -6. ACKNOWLEDGEMENTS - - Thanks to Dr. Daniel Taupin, Ross Mitchell and Andreas Egler for their -MusiXTeX package, to Dr. Peter Szabo for his excellent TeXtrace tool, -and to Dr. Han-Wen Nienhuys for his smart mftrace tool. -And thanks to Dr. Bob Tennent for his helpful comments, and to Mr. David -Fritzsche for his suggestions. - -[End of README] diff --git a/Master/texmf-dist/doc/generic/musixtex/README.psfonts b/Master/texmf-dist/doc/generic/musixtex/README.psfonts deleted file mode 100644 index 5285b7dcc30..00000000000 --- a/Master/texmf-dist/doc/generic/musixtex/README.psfonts +++ /dev/null @@ -1,111 +0,0 @@ - PostScript (Type 1) Fonts for MusiXTeX - Ver 1.11 - - 28-August-2001 - - Takanori Uchiyama, uchiyama@appi.keio.ac.jp - -1. DESCRIPTION - -This package provides PostScript (type 1) fonts (PFB format), and dvips and -dvipdfm map files for MusiXTeX. The fonts are based on the original METAFONT -sources, such as musix20.mf, which are distributed with MusiXTeX. The fonts -provided here may be used to produce printer-independent Postscript files. PDF -files generated using type 1 fonts are well displayed by the Acrobat Reader and -xpdf. - -The fonts were generated from the METAFONT sources in the TeX Live CD 2000 July -using TeXtrace 0.45 but musix11-20, xslhz20 and xslhz20d were upgraded to those -in musixtex-T102.tar.gz. - -Here is a list of the 71 generated fonts. - -musix11.pfb xgreg24.pfb xsld29.pfb xslhd24.pfb xslhu24.pfb xslu20.pfb -musix13.pfb xgreg29.pfb xsld29d.pfb xslhd24d.pfb xslhu24d.pfb xslu20d.pfb -musix16.pfb xsld11.pfb xsldd20.pfb xslhd29.pfb xslhu29.pfb xslu24.pfb -musix20.pfb xsld11d.pfb xsldu20.pfb xslhd29d.pfb xslhu29d.pfb xslu24d.pfb -musix24.pfb xsld13.pfb xslhd11.pfb xslhu11.pfb xslhz20.pfb xslu29.pfb -musix29.pfb xsld13d.pfb xslhd11d.pfb xslhu11d.pfb xslhz20d.pfb xslu29d.pfb -musixsps.pfb xsld16.pfb xslhd13.pfb xslhu13.pfb xslu11.pfb xslud20.pfb -musixspx.pfb xsld16d.pfb xslhd13d.pfb xslhu13d.pfb xslu11d.pfb xslup20.pfb -xgreg11.pfb xsld20.pfb xslhd16.pfb xslhu16.pfb xslu13.pfb xslz20.pfb -xgreg13.pfb xsld20d.pfb xslhd16d.pfb xslhu16d.pfb xslu13d.pfb xslz20d.pfb -xgreg16.pfb xsld24.pfb xslhd20.pfb xslhu20.pfb xslu16.pfb xtie20.pfb -xgreg20.pfb xsld24d.pfb xslhd20d.pfb xslhu20d.pfb xslu16d.pfb - -Note: musix25 and xgreg25 were not generated because they are not used in - musixgre.tex or musixtex.tex. - - -The control points were reduced with Fontographer. -The fonts were hinted automatically with Fontographer. musix11 - 29 were -hand tuned by Takanori Uchiyama. - -2. METHOD - -All fonts were generated using TeXtrace 0.45 running on Mac OS X 10.0.4. -Thirty-two fonts were generated with the original traceall.sh script. Others -were generated with traceall.sh modified by Takanori Uchiyama. The modification -involved reducing resolution, corresponding to enlargement of "1 thou" in -traceall.sh. The following are lists of fonts that were generated with N-fold -thou scripts. - -twofold - musix11, musix13, xsld11, xsld11d, xsld13, xsld13d, xsld16, xsld16d, - xslhd13, xslhd13d, xslhd16, xslhd16d, xslhd20, xslhd20d, xslhd24d, - xslhu13, xslhu13d, xslhu16, xslhu16d, xslhu20, xslhu20d, xslhu24d, - xslu13, xslu13d, xslu16, xslu16d, xslud20 - -threefold - musixsps, musixspx, xslhd11, xslhd11d, xslhu11, xslhu11d, xslz20, xslz20d - -fivefold - xslhz20, xslhz20d, xtie20 - -The reason for reducing resolution is that METAFONT supports only limited -values of real numbers and so cannot generate very high resolution MusiXTeX -fonts. - -3. INSTALLATION - - 1) Make a directory such as $TEXMF/fonts/type1/musixtex, for PFBs. - 2) Copy all PFBs to the above directory; they should be readable by all users. - 3) Copy the map file ./dvips/musix.map to the appropriate directory, such as - $TEXMF/dvips/config - 4) Add a line - - p +musix.map - - to a suitable config.xxx file or, in a tetex-based distribution, add - musix.map to the list of map files for Type1 fonts with Metafont - equivalents in the updmap script, which should then be executed - by doing "./updmap". - 5) Copy the map file ./dvipdfm/musix.map to the appropriate directory, such as - $TEXMF/dvipdfm/config - 6) Add a line - - f musix.map - - to the config file. - 7) Do mktexlsr or texhash or whatever is necessary on your system to - re-generate the TeX database. - -When these fonts are used, type 1 fonts should also be used for non-music text; -for example, type 1 versions of the Computer Modern fonts are available. - -4. TODO - - + Hinting - + Modifying METAFONT sources to get high resolution outputs - -5. LICENSE - - The license of this package is LPPL. - -6. ACKNOWLEDGEMENTS - - Thanks to Dr. Daniel Taupin, Ross Mitchell and Andreas Egler for their -MusiXTeX package, and to Dr. Peter Szabo for his excellent TeXtrace tool. -And thanks to Dr. Bob Tennent for his helpful comments. - -[End of README] diff --git a/Master/texmf-dist/doc/generic/musixtex/backgrnd.sty b/Master/texmf-dist/doc/generic/musixtex/backgrnd.sty deleted file mode 100644 index 0c06073ad95..00000000000 --- a/Master/texmf-dist/doc/generic/musixtex/backgrnd.sty +++ /dev/null @@ -1,320 +0,0 @@ -%%% backgrnd.sty = background.sty -%%% Experimental version 24 march 1996 -%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% -%%% -%%% This macro file aims at implementing marking of text, -%%% either by a grey background or by a change bar -%%% using TeX's own resoureces only, -%%% (i.e., without resorting to any pstricks). -%%% Grey background uses a shade font defined using MetaFont -%%% The macros seem to work satisfactory under plain TeX, -%%% however, I have also tried (rudimentarily) to integrate it with -%%% LaTeX, too. It seems to work with (simple) LaTeX 2.09, at least. -%%% -%%% commands : -%%% \RuleOn and \RuleOff : changebar -%%% \RuleON : backs up to mark current line, too -%%% \RuleStyle { ( dimension ) % width of rule -%%% % rule offset on pages -%%% [ # dimension | % with even pagenumbers -%%% # dimension ] } % with odd pagenumbers -%%% % # is either < : left margin -%%% % or > : right margin -%%% e.g.: default values are set by -%%% \RuleStyle { (2pt)[<18pt|>18pt] } -%%% -%%% -%%% \ShadeON ( backs up to mark current line, too ) and -%%% \ShadeOn and \ShadeOff : grey background, requires shade.sty -%%% therefore, by default, - \let\ifUseGrey\iffalse % grey background will not be installed -%%% - and will be replaced by rules -%%% if grey background is required then -%%% remove comment signs %%% from next line : -%%% \let\ifUseGrey\iftrue -%%% -%%% (At present) it is not possible to use both commands -%%% in the same document ! -%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% -%%% Peter Schmitt %%% -%%% Institut f\"ur Mathematik, Universit\"at Wien %%% -%%% Strudlhofgasse 4, A-1090 Wien, Austria %%% -%%% email: schmitt@awirap.bitnet %%% -%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% - -\catcode`\: 11 % make internal macros private -\countdef\int: 255 % scratch registers -\dimendef\dim: 0 -\skipdef\skip: 0 - -%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% -%%% commands and options %%% -%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% - -\def \RuleOn {\bg:ini \bg:rule - \RuleStyle { (2pt)[<18pt|>18pt] } - \bg:commands \RuleOn \RuleON \RuleOff - \RuleOn - } -\def \RuleStyle #1{\set:hsize #1(\bg:hsize)\\% - \set:offsets #1[*|*]\iftrue]\iffalse\\% - } - -\def \bg:rule {\leaders\vrule width\bg:hsize\vskip} -\def \bg:empty {\vskip} -\let \bg:offset \relax - -%%%%%%%%%%%%%%%%%%%%%%%%%%% -%%% interface tools %%% -%%%%%%%%%%%%%%%%%%%%%%%%%%% - -\def\bg:commands #1#2#3{\def #1{\bg:option {\vbox{}\pos:on}} - \def #2{\bg:option {\nobreak\vskip-\baselineskip - \vbox{}\pos:on - \nobreak\vskip\baselineskip } - } - \def #3{\bg:option {\vbox{}\pos:off}} - } -\def \bg:ini {\output{\bg:output} % should be followed by desired \bg:style - \zero:pos - \global\let \bg:skip \bg:empty - \let \bg:style - } -\def\bg:option #1{\ifvmode #1\else \vadjust{#1}\fi } - -\def \set:hsize #1(#2)#3\\{\edef\bg:hsize{#2}} -\def \set:offsets #1[#2#3|#4#5]#6]#7#8\\{#7 - \def\bg:shift{} - \set:offset #2#3 - \set:offset #4#5 - \expandafter \set:shifts \bg:shift - \fi } -\def\set:offset #1#2 {\setbox0\hbox{\dim: -#2\bg:offset\xdef\bg:offset{\the\dim:}} - \dim:\bg:offset - \expandafter\expandafter\expandafter - \set:shift \csname bg:#1\endcsname - } -\def\set:shift #1#2{\dim: \bg:offset \advance\dim: #2% - \edef\bg:shift {\bg:shift {#1\the\dim:}} - } -\expandafter\def \csname bg:<\endcsname {\moveleft \bg:hsize} -\expandafter\def \csname bg:>\endcsname {\moveright \hsize} -\def \set:shifts #1#2{\def\bg:shift{\ifodd\pageno #2\else #1\fi}} - -%%% not used : -\def\bg:err #1{\errmessage {% - Warning ! Background mode \noexpand#1 already active ! } - } -%%% saving position without eject yields not always correct result -%%% \def\bg:on {\switch:to \bg:style } \def\bg:off {\switch:to \bg:empty } - -%%%%%%%%%%%%%%%%%%%%%%%%%%% -%%% grey background %%% -%%%%%%%%%%%%%%%%%%%%%%%%%%% -\ifUseGrey - -\def\ShadeOn {\bg:ini \bg:grey - \let\bg:shift\relax - \let\bg:hsize\hsize - \setbox\grey:line - \vbox{\shade{\line:{\vphantom{\grey:\char0}\hfil}}} - \bg:commands \ShadeOn \ShadeON \ShadeOff - \ShadeOn - } -\csname newbox\endcsname\grey:line % allow \newbox in conditional text -\def\bg:grey {\leaders\copy\grey:line\vskip} -\let\line:\line -\input shade - -\else - \def\ShadeOn{\RuleOn} \def\ShadeOff{\RuleOff} \def\ShadeON{\RuleON} - \fi -%%%%%%%%%%%%%%%%%%%%%%%%%% -%%% output routine %%% -%%%%%%%%%%%%%%%%%%%%%%%%%% - - \newbox \bg:page - \newdimen \v:size - \newskip \v:pos - \newcount \true:penalty - \chardef \the:page 255 - -\def\option: #1{\advance\int: -1 - \edef#1{\penalty\the\int: } - \expandafter\def\csname\the\int:\endcsname - } \int: -12345 -\def\bg:output{\expandafter\ifx\csname\the\outputpenalty\endcsname\relax - \global\true:penalty\outputpenalty - \expandafter\bg:pagecontents - \else \expandafter\expandafter - \csname\the\outputpenalty\endcsname - \fi } -\option: \pos:on {\bg:switch \bg:style } -\option: \pos:off {\bg:switch \bg:empty } -\option: \bg:top {\save:pos \add:bg\bg:empty\v:skip{} - \repeat:page \unvbox\the:page } -\option: \bg:bot {\save:pos \repeat:page \unvbox\the:page } -\option: \fg:end {\save:pos \add:bg\bg:empty{}\v:skip \bg:makepage } - -\def \bg:switch #1{\setbox\the:page - \vbox{\unvbox\the:page \setbox0\lastbox } - \ifdim \pagetotal=\topskip - \global\let \bg:skip #1 - \unvbox\the:page - \else \switch:to #1 - \repeat:page\repeat:inserts \unvbox\the:page - \fi - } -\def\switch:to #1{\save:pos - \add:bg \bg:skip{}\v:skip - \global\let \bg:skip #1} -\def\bg:pagecontents {\switch:to \bg:skip - \setbox\the:page \vbox - {\vbox{}\bg:top \unvbox\the:page \bg:bot } - \zero:pos \repeat:page - \pagecontents \fg:end - } -\def\bg:makepage {\global\v:size\vsize \advance\v:size \dp\the:page - \def\pagecontents{% - \bg:shift - \vbox to0pt{\vbox to\v:size{\unvbox\bg:page}\vss} - \unvbox\the:page } - \outputpenalty\true:penalty - \plainoutput - \zero:pos \reset:inserts - } - -%%%%%%%%%%%%%%%%% -%%% tools %%% -%%%%%%%%%%%%%%%%% - -\def\repeat:page {\vbox{}\nobreak\kern-\topskip } -\def\add:bg #1#2#3{\let\bg:vskip #1 - \global\setbox\bg:page \vbox{#2\unvbox\bg:page#3} - } - -\newdimen \v:fil -\newdimen \v:fill -\newdimen \v:filll -\def\zero:pos {\global \v:pos 0pt - \global \v:fil 0pt - \global \v:fill 0pt - \global \v:filll 0pt - } -\def\save:pos {\skip: -\v:pos % save -last:pos - \global \v:pos \pagetotal - \global\advance \v:pos \pagedepth - \ifnum \pagedepth=0 \advance\v:pos \dp\the:page \fi - \global\advance \v:pos 0ptplus\pagestretch minus\pageshrink - \save:skip - } -\def\save:pos {\skip: -\v:pos % save -last:pos - \global \v:pos \pagetotal - \global\advance \v:pos \pagedepth - \ifnum \pagedepth=0 \advance\v:pos \dp\the:page \fi - \global\advance \v:pos 0ptplus\pagestretch minus\pageshrink - \save:skip - \global\skip\ins:size \vsize - \global\advance\skip\ins:size -\pagegoal - \global\advance\skip\ins:size -\ins:skip - } -\def\save:skip {\advance\skip:\v:pos % v:pos - last:pos - \let\bg:vskip\relax - \edef\v:skip{\bg:vskip\the\skip:} - \fil:skip l \fil:skip ll \fil:skip lll - } -\def\fil:skip #1 {\set:fil {\csname v:fi#1\endcsname} - {\csname pagefi#1stretch\endcsname} - \edef\v:skip{\v:skip \bg:vskip0ptplus\the:pt \dim: fi#1 } - } -\def\set:fil #1#2{\dim: -#1 - \advance \dim: #2 - \global #1 #2 - } -\def\the:pt {\expandafter\PT:\the} - { \catcode`p 12 \catcode`t 12 -\gdef\PT: #1pt{#1} }% \catcode`p 11 \catcode`t 11 - -%%%%%%%%%%%%%%%%%%%%%%%%%%% -%%% insert handling %%% -%%%%%%%%%%%%%%%%%%%%%%%%%%% - -\newcount\ins: -\newinsert\ins:size -\newdimen\ins:skip - -\let\do:insert \insert -\def\inserts:{} -\def\insert {\afterassignment\adjust:pos\ins:} -\def\adjust:pos {\csname ins:\the\ins:\endcsname\csname iftrue\endcsname - \add:plus \ins: \add:minus \ins: - \advance\ins:skip\skip\ins: - \let\temp:\relax - \edef\inserts:{\inserts: \temp:{\the\ins:}} - \fi - \global\expandafter\let\csname ins:\the\ins:\endcsname \iffalse - \do:insert\ins: } -\def\repeat:inserts{\def\temp:##1{\do:insert##1{}}\inserts: } -\def\reset:inserts{% - \def\temp: ##1{\global\expandafter\let\csname ins:##1\endcsname \relax } - \inserts: \gdef\inserts:{}\global\ins:skip 0pt } - -%%% tools for insert handling %%% - - \catcode `L12 \catcode `N12 \catcode `S12 \catcode `U12 \lowercase{ -\def\plus: #1LUS #2 #3\\{#2} -\def\Plus: #1{\expandafter\plus:\the#1 LUS 0.0pt \\} -\def\minus: #1NUS #2 #3\\{#2} -\def\Minus: #1{\expandafter\minus:\the#1 NUS 0.0pt \\} - } \catcode `L11 \catcode `N11 \catcode `S11 \catcode `U11 - -\def\set:int {\afterassignment\set:frac\int: } -\def\set:frac #1{\afterassignment\csname\count0 } -\def\adv:pos #1{\global\advance#1\the\int:.\the\count0 pt } -\def \pt:p {\adv:pos {\v:pos 0ptplus}} -\def \pt:m {\adv:pos {\v:pos 0ptminus}} -\def \fil:p {\adv:pos \v:fil } -\def \fill:p {\adv:pos \v:fill } -\def\filll:p {\adv:pos \v:filll } - -\def\add:plus #1{{\expandafter\set:int \Plus: {\skip#1}:p\endcsname }} -\def\add:minus #1{{\expandafter\set:int \Minus:{\skip#1}:m\endcsname }} - -%%%%%%%%%%%%%%%%%%%%%%%% -%%% LaTeX extras %%% -%%%%%%%%%%%%%%%%%%%%%%%% - -\catcode`@ 11 -\ifx \@outputbox\undefined \endinput \catcode`@12 \catcode`: 12 \fi - -\newtoks\latex:output \latex:output \output -\newdimen\v:ht % possibly \textheight could be used - -\def\bg:@makecol {\switch:to \bg:skip - \setbox\the:page \vbox - {\vbox{}\bg:top \unvbox\the:page \bg:bot } - \@makecol - \global\v:ht\ht\@outputbox \global\v:size\v:ht - \global\advance\v:size\dp\@outputbox - \zero:pos \outputpenalty\true:penalty - \repeat:page \unvbox\@outputbox \fg:end - } -\def\bg:@makepage {\setbox\@outputbox \vbox to \v:ht {% - \bg:shift - \vbox to0pt{\vbox to\v:size{\unvbox\bg:page}\vss} - \unvbox\the:page } - \outputpenalty\true:penalty - \let\@makecol\relax \the\latex:output - \zero:pos \reset:inserts - } -\let \bg:makepage \bg:@makepage -\let \bg:pagecontents \bg:@makecol -\def \line: {\hbox to\textwidth} -\let \pageno \c@page - -\catcode`@ 12 \catcode`: 12 - -\endinput %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% -%%% end : background.sty [ 0.3 ] %%% -%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/8bitchar.tex b/Master/texmf-dist/doc/generic/musixtex/examples/8bitchar.tex new file mode 100644 index 00000000000..54969d68d02 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/8bitchar.tex @@ -0,0 +1,12 @@ + +\input plainenc\relax\inputencoding{cp1252} +\input musixtex +\input musixlyr +\hsize50mm +\setlyrics1{á ä ö}\assignlyrics11% +\startpiece\addspace{4pt}% +\znotes\zcharnote{12}{Poème naïf}\en% +\Notes\qa{ggg}\en% +\endpiece +\vfill\eject +\end diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/avemaria.tex b/Master/texmf-dist/doc/generic/musixtex/examples/avemaria.tex index 85bd6861b34..67348d04233 100644 --- a/Master/texmf-dist/doc/generic/musixtex/examples/avemaria.tex +++ b/Master/texmf-dist/doc/generic/musixtex/examples/avemaria.tex @@ -12,8 +12,7 @@ \linesinpage=0\relax \resetfacteurs \computewidths +\sepbarrules % \input avemarix \bye - - diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/canticor.tex b/Master/texmf-dist/doc/generic/musixtex/examples/canticor.tex deleted file mode 100644 index 7e3bb3e70b1..00000000000 --- a/Master/texmf-dist/doc/generic/musixtex/examples/canticor.tex +++ /dev/null @@ -1,23 +0,0 @@ - -\resetfacteurs\advance\staffbotmarg by 2\Interligne -\barsinline=0\relax\linesinpage=0\relax -\def\Transpose{0}% -\def\Signature{1}\relax % trois diezes a la clef -\input canticox -\resetfacteurs\advance\staffbotmarg by 2\Interligne -\barsinline=0\relax\linesinpage=0\relax -\def\Transpose{-1}\relax -\def\Signature{-1}\relax % deux diezes a la clef -\input canticox -\resetfacteurs\advance\staffbotmarg by 2\Interligne -\barsinline=0\relax\linesinpage=0\relax -\def\Transpose{-2}\relax -\def\Signature{-3}\relax % un bemol a la clef -\input canticox -\resetfacteurs\advance\staffbotmarg by 2\Interligne -\barsinline=0\relax\linesinpage=0\relax -\def\Transpose{-3}\relax -\def\Signature{2}\relax % un bemol a la clef -\input canticox -\bye - diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/canticox.tex b/Master/texmf-dist/doc/generic/musixtex/examples/canticox.tex deleted file mode 100644 index 795204a8c4b..00000000000 --- a/Master/texmf-dist/doc/generic/musixtex/examples/canticox.tex +++ /dev/null @@ -1,156 +0,0 @@ -\fulltitle{Canticorum jubilo} -\shorttitle{Canticorum jubilo} - \fullauthor{Georg Friedrich H„ndel\\Transposition -Daniel Taupin} - \shortauthor{G.-F. H„ndel} - \maketitle - % -\tracingstats=1\relax -\relativeaccidentals -\sepbarrules - % -\parindent 15mm - % soufflets crescendo et decrescendo - % -\def\soufflcr#1{\zcharnote{#1}{\kern -0.5cm\cresc}}% -\def\Soufflcr#1{\zcharnote{#1}{\kern -0.5cm\CResc}}% - % -\def\souffldim#1{\zcharnote{#1}{\kern -0.5cm\dimin}}% -\def\Souffldim#1{\zcharnote{#1}{\kern -0.5cm\DImin}}% - % - %\check -\def\nbinstruments{2}\resetsignatures -\global\nbporteesi=1\relax -\global\nbporteesii=1\relax -\global\cleftoksi={{6}{0}{0}{0}}% -\global\cleftoksii={{0}{0}{0}{0}}% -\def\lowersonginstrum{1} % to be used to make heavy bars at staff left -\def\uppersonginstrum{2} % to be used to make heavy bars at staff left - % -\signaturegenerale{\Signature}% -\generalmeter{\allabreve} - %\check -\def\interfacteur{18}% -\def\instrumenti{\vbox{\hsize=\parindent -\centerline{T\'enors}\centerline{basses}}}% -\def\instrumentii{\vbox{\hsize=\parindent -\centerline{Sopran.}\centerline{Altos}}}% - %\check - % -\def\eightpoint{\Tenpoint}% - %\check -\catcode`\@=13 -\catcodesmusic - % -\def\respire{\notes&\cbreath\enotes}% - % -\def\txt#1|#2&{{\vbox to 0pt{\Smalltype\baselineskip 9pt -\vss\hrule width 9pt height 0pt -\hbox{\vrule height 6pt depth 2pt width 0pt\kern -\internote - #2\kern\internote}\smallskip -\hbox{\vrule height 6pt depth 2pt width 0pt\kern -\internote - #1\kern\internote}\kern -6pt}}}% - % -\elemskip 20pt\relax -\debutmorceau - %\autolines 754\relax - \transpose=\Transpose - \qspace - % - \NOtes\zhl N\hu b&\hsong{Can-}\zhl g\hu k\enotes - \Notes\islurd0b\zqlp b\isluru1d\qup d&\zsong{ti- }\islurd2g\zqlp g\isluru3i\qup i\enotes - \notes\tslur0a\zcl a\tslur1c\cu c&\hsong{---}\tslur2f\zcl f\tslur3j\cu j\enotes - % - %\check - \barre %2 - \NOtes\zhl N\hu b&\hsong{co-}\zhl g\hu k\enotes - \NOtes\zhl b\hu d&\hsong{rum}\zhl d\hu g\enotes - % - %\check - \barre %3 - \notes\zqlp a\qu c&\zsong{ju-}\Ibl0fi3\Ibu1hk3\zqb0f\qh1h\enotes - \notes&\hsong{- }\zqb0g\qh1i\enotes - \notes\qu a&\hsong{- }\zqb0h\qh1j\enotes - \notes\cl N&\hsong{- }\tbl0\zqb0i\tqh1k\enotes - \Notes\zql M\qu d&\hsong{- }\zql h\qu j\enotes - \Notes\zql N\qu d&\zsong{bi- }\zql g\qu i\enotes - % - %\check - \barre %4 - \NOTEs\zw K\wh d&\hsong{lo}\zw f\wh h\enotes - % - %\check - \barre %5 - \notes\Ibl0bc3\zhup d\qb0b&\hsong{Re-}\zhlp g\Ibu1kl3\qh1k\enotes - \notes\qb0a&\hsong{- }\qh1j\enotes - \notes\qb0b&\hsong{- }\qh1k\enotes - \notes\tqb0c&\hsong{- }\tqh1l\enotes - \Notes\ql b&\hsong{- }\qu k\enotes - \Notes\zql b\qu d&\hsong{gi }\zql g\qu k\enotes - % - %\check - \barre %6 - \NOtes\zhl b\hu d&\hsong{ma-}\zhl g\hu n\enotes - \NOtes\zhl N\hu b&\hsong{gno }\zhl g\hu k\enotes - % - %\check - \barre %7 - \Notes\zql a\isluru0c\qu c&\zsong{psal-}\islurd1f\isluru2j\zql f\qu j\enotes - \notes\tslur0d\zhu d\Ibl0bc1\qb0b\tqb0c&\tslur1g\tslur2i\hsong{- }\zhl g\qu i\enotes - \Notes\ql d\zql K\qu c&\hsong{- }\hu h\hsong{li-}\ql f\enotes - % - %\check - \barre %8 - \NOTes\zw N\wh b&\hsong{te !}\roff{\zw g}\wh g\enotes - \setrightrepeat - % - %\check - \barre %9 - \notes\zhlp N\hup d&\zsong{\txt Per-|Jam-&}\Ibl0gh3\Ibu1ij3\zqb0g\qh1i\zqb0f\qh1h\zqb0g\qh1i\tbl0\tbu1\zqb0h\qh1j\enotes - \Notes&\hsong{\txt - |- &}\zql g\qu i\enotes - \Notes\zql N\qu d&\hsong{\txt so- |re- &}\zql g\qu i\enotes - % - %\check - \barre %10 - \NOtes\zhl K\hu c\zhl L\hu b&\hsong{\txt nan-|sul-&}\zhl f\hu h\hsong{\txt -tes |tent &}\zhl e\hu g\enotes - % - %\check - \barre %11 - \Notes\islurd0M\isluru1d\zql M\qu{^d}&\hsong{\txt or-|mu-&}\islurd2h\isluru3j\zql h\qu j\enotes - \Notes\zql N\qu e&\hsong{\txt - |- &}\zql g\qu i\enotes - \Notes\tslur0a\tslur1c\zql a\qu c&\hsong{\txt - |- &}\tslur2f\tslur3h\zql f\qu h\enotes - \Notes\zql L\qu b&\hsong{\txt ga-|si-&}\zql e\qu g\enotes - % - %\check - \barre %12 - \NOTes\roff{\zw b}\wh b&\hsong{\txt nis,!|ca, &}\zw{^d}\wh f\enotes - % - %\check - \barre %13 - \notes\zhlp L\hup b&\zsong{\txt Ju-|Un-&}\Ibl0ef3\Ibu1gh3\zqb0e\qh1g\zqb0{^d}\qh1f\zqb0e\qh1g\tbl0\tbu1\zqb0f\qh1h\enotes - \Notes&\hsong{\txt - |- &}\zql e\qu g\enotes - \Notes\loff{\zql d}\qu b&\hsong{\txt bi- |da, &}\zql e\qu g\enotes - % - %\check - \barre %14 - \NOtes\zhl{^c}\hu c&\hsong{\txt la-|tel-&}\zhlp g\hu l\enotes - \Notes\zhl a\hu e&\hsong{\txt te, |lus, &}\hu{^j}\ql g\enotes - % - %\check - \barre %15 - \Notes\zql b\qu d&\hsong{\txt plau-|si-&}\zql f\qu k\enotes - \notes\zql N\qu b&\hsong{\txt - |- &}\Ibl0gf1\Ibu1lk1\zqb0g\qh1l\tbl0\tbu1\zqb0f\qh1k\enotes - %\check - \Notes\zql a\qu e&\hsong{\txt - |- &}\zql e\qup{^j}\enotes - \notes\zql a\qu e&\hsong{\txt di-|de-&}\ql h\cu k\enotes - % - %\check - \barre %16 - \NOTes\zw K\wh f&\hsong{\txt te.|ra.&}\zw h\wh k\enotes - \finmorceau -\medskip\rightline{\it le \aujourdhui} -\absoluteaccidentals -\vfil\eject - -\endinput diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/changecontext.tex b/Master/texmf-dist/doc/generic/musixtex/examples/changecontext.tex new file mode 100644 index 00000000000..819a59131fa --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/changecontext.tex @@ -0,0 +1,95 @@ +\input musixtex +\instrumentnumber2\setstaffs22% +\hsize 100mm \vsize 230mm +\generalmeter{\meterfrac{4}{4}\meterfrac{2}{4}\meterfrac{1}{4}}% +\setclef1{\bass}\generalsignature2% +\startpiece +\notes\qu K&\qu d|\qu e\en +% +% Signatures +% if there is no bar line, the signatures are confusing +% it is not clear if they are for a single note or not +% bar 1 +%% Signature changing in a single instrument with 2 staves +\setsign21\changesignature +\notes\qu J&\qu d|\qu e\en +% Signature changing in a single instrument +%\setsign1{-1}\changesignature +%\notes\qu K&\qu d|\qu e\en +% Signature changing in a single staff without naturals +\setsign11\ignorenats\changesignature +\notes\qu M&\qu d|\qu e\en +% bar 2 +% New signatures after a bar line +\generalsignature{-2}\changecontext% +\notes\qu K&\qu d|\qu e\en% +\notes\qu K&\qu d|\qu e\en% +% New signatures after an invisible bar line +\generalsignature{1}\zchangecontext% +\notes\qu K&\qu d|\qu e\en% +% +% new music line caused by mulooseness +\mulooseness1 +% +% bar 3 +%\setsign2{-1}\changesignature\Changecontext% +\setsign2{-1}\ignorenats\Changecontext% +%\zalaligne% +\notes\qu K&\qu d|\qu e\en% +% bar 4 +\generalsignature{2}\ignorenats\Changecontext% +\notes\qu K&\qu d|\qu e\en% +% bar 5 OK : +\setsign1{-3}\setsign2{-3}\changecontext% +\notes\qu K&\qu d|\qu e\en% +% bar 6 +% Are all this options common (choose 1 line of 3)? +%\generalsignature{-3}\changecontext\alaligne% +%\generalsignature{-3}\changesignature\setdoublebar\alaligne% +\generalsignature{-3}\changesignature\Changecontext% +% +\notes\qu K&\qu d|\qu e\en% +% bar 7 +\generalsignature{2}\ignorenats\Changecontext% +\notes\qu K&\qu d|\qu e\en% +% +% Clefs +% in 1 staff and taking space +\setclef1\treble\changeclefs% +\notes\qu k&\cu{.d}\ccu{e}|\qu e\en% +% combined with signature change - space is already available +\setclef1\bass\zchangeclefs\setsign1{-2}\setsign2{-2}% +\ignorenats\changesignature% +\notes\qu K&\cu{de}|\qu e\en% +% clef change before barline +\setclef1\treble\zchangeclefs\bar% +\notes\qu k&\cu{de}|\qu e\en% +% clef change after barline +\setclef1\bass\bar\zchangeclefs% +\notes\qu K&\cu{de}|\qu e\en% +% bar 10 +% Meter +\setmeter1{{\meterfrac{2}{4}}}% +% How big the '2' must be? +\setmeter2{{\lower2pt\hbox{\meterfrac{\Bigtype 2}{}}}% +{\meterfrac{3}{4}}}\changecontext +\notes\qu K&\cu{de}|\qu e\en +% bar 11 +% Meter Clefs and Key Signatures +% all 3 clefs after bar if no changeclefs +\setmeter1{{\meterfrac{2}{8}}}% +\setmeter2{{\meterfrac{3}{6}}{\meterfrac{3}{8}}}% +\setsign2{-1}% +% How to force showing the bass clef? +\setclef1\bass\setclef2{23}% +\Changecontext +\notes\qu K&\cu{de}|\qu e\en +% bar 12 +% Meter Clefs Keys Signatures all 3 with clef before the bar +% probably not if signatures are involved +\setmeter1{{\meterfrac{2}{4}}}% +\setmeter2{{\meterfrac{3}{8}}{\meterfrac{3}{6}}}% +\setsign2{-1}% +\setclef1\treble\zchangeclefs\changecontext +\notes\qu k&\cu{de}|\qu e\en +\mulooseness1\Stoppiece\eject\bye diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/coulhack.tex b/Master/texmf-dist/doc/generic/musixtex/examples/coulhack.tex new file mode 100644 index 00000000000..1f797876cd4 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/coulhack.tex @@ -0,0 +1,70 @@ +% thicker ledger lines +\def\myhlthick{1.5\lthick} +\makeatletter +\def\h@linei{% + \y@ii\n@v\internote + \y@iii\y@ii + \advance\y@ii\myhlthick + \advance\y@iii-\myhlthick + \y@vi\noteskip % noteskip +%-\ifnum\y@vi=\z@ \y@vi\maxdimen\fi % (or maxdimen if noteskip = 0) + \advance\y@vi-\y@v % - notewidth + \y@vi0.7\y@vi % this may be eaten =: additional length + \y@iv\h@lf\qn@width\ifnum\y@vi>\y@iv \y@vi\y@iv\fi % not more than 0.5 qn@width + \y@iv0.2\qn@width \ifnum\y@vi<\y@iv \y@vi\y@iv\fi % not less than 0.2 qn@width + \y@iv\y@v % notewidth + \advance\y@iv\y@vi % + additional length =: total length + \kernm\h@lf\y@vi % center the ledger line +%-\message{noteskip = \the\noteskip, length = \the\y@iv, notewidth = \the\y@v}% + \vrule\@height\y@ii\@depth-\y@iii\@width\y@iv + \kernm\y@iv\kern\h@lf\y@vi} + +% same adapted from MUSIXFLL.TEX + +\ifx\undefined\longledgerlines \else \endinput \fi + +\immediate\write10{MusiXFormerLedgerLines T.74\space<06 April 1997>}% + +%\edef\catcodeat{\the\catcode`\@}\catcode`\@=11 + +\let\h@lineick\h@linei +\def\h@lineidt{% + \y@ii\n@v\internote + \y@iii\y@ii + \advance\y@ii\myhlthick + \advance\y@iii-\myhlthick + \y@iv\y@v + \advance\y@iv\h@lf\qn@width + \kernm.25\qn@width + \vrule\@height\y@ii\@depth-\y@iii\@width\y@iv + \kernm\y@iv\kern.25\qn@width} +\def\longledgerlines{\global\let\h@linei\h@lineidt} +\def\autoledgerlines{\global\let\h@linei\h@lineick} +\longledgerlines +%\catcode`\@=\catcodeat + +% space between signatures and first note at each system: + +\def\contpiece{\noindent \piece@conta \writ@staffs \piece@beginc +% \Writ@meters \wbarno@x \hardspace{10pt}\addspace\afterruleskip + \Writ@meters \wbarno@x \hardspace{.3\elemskip}\addspace\afterruleskip} +% ^^^^^^^^^^^^^^^^^^^^^^^ + +% missing pixels at some beam ends: +\def\beamst@m{% queue de note vers une poutre + \getcurpos \advance\y@v-\b@x + \y@ii\b@p\y@v \divide\y@ii\tw@nty \advance\y@ii\b@z + \ifdim\y@ii>\st@top % la poutre est au-dessus + \stem@skip\qd@skip \comp@slope\stem@skip \advance\y@ii\s@lope + \advance\y@ii .25\interbeam% hack + \ifnum\b@n>\z@ \advance\y@ii\b@n\interbeam \advance\y@ii-\interbeam \fi + \st@top\y@ii % a mettre a jour avec la pente ulterieurement + \else + \advance\y@ii-.25\interbeam% hack + \stem@skip\z@ + \ifdim\y@ii<\st@bot + \ifnum\b@n<\z@ \advance\y@ii\b@n\interbeam \advance\y@ii\interbeam \fi + \st@bot\y@ii \fi \fi + \C@stem} + +\makeatother diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/fantaisi.tex b/Master/texmf-dist/doc/generic/musixtex/examples/fantaisi.tex index 8b74bc93760..5068f32e649 100644 --- a/Master/texmf-dist/doc/generic/musixtex/examples/fantaisi.tex +++ b/Master/texmf-dist/doc/generic/musixtex/examples/fantaisi.tex @@ -15,10 +15,10 @@ \transpose=\ftranspose\relax \newif\iffiveoctaves \ifnum\transpose=0\relax - \subtitle{(pour orgue … 5 octaves)} + \subtitle{(pour orgue \`a 5 octaves)} \fiveoctavestrue \else\ifnum\transpose=-1\relax - \subtitle{(pour orgue … 4 octaves et demi, do--sol)} + \subtitle{(pour orgue \`a 4 octaves et demi, do--sol)} \fiveoctavesfalse \else \subtitle{(pour orgue)} diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/fstsaens.tex b/Master/texmf-dist/doc/generic/musixtex/examples/fstsaens.tex new file mode 100644 index 00000000000..4d612535bad --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/fstsaens.tex @@ -0,0 +1,174 @@ + +\ifx\mxversion\undefined + \input musixtex + \input musixcpt + \input musixsty +\fi + +\ifx\pdfoutput\undefined +\immediate\write16{Standard TeX/LaTeX} +\else +\immediate\write16{--------------------} +\immediate\write16{Running PDF[la]TeX} +\immediate\write16{--------------------} +\fi + +\fullauthor{Daniel TAUPIN -- Camille Saint-Saens\\Compos\'e en juin 2002} +\shortauthor{D. Taupin -- St-Saens -- \aujourdhui} +\shorttitle{Fantaisie concertante} +\title{Fantaisie concertante} +\subtitle{pour orgue \`a 2 claviers sur +les th\`emes du final du 4\fup{e} concerto pour piano de St-Saens} + + +\maketitle +\def\ShortVersion{\relax} + +\parindent 18mm +\tracingstats=2\relax +% +% formes fr\'equentes +% +%au moins deux croches basses et hautes +\def\dqb#1#2{\Ibl0{#1}{#2}1\qb0{#1}\tqb0{#2}}% +\def\dqh#1#2{\Ibu0{#1}{#2}1\qh0{#1}\tqh0{#2}}% +%au moins deux croches basses et hautes +\def\Dqb#1#2{\Ibl0{#1}{#2}1{\advance\transpose 7\zq{#1}}\qb0{#1}{\advance\transpose 7\zq{#2}}\tqb0{#2}}% +\def\Dqh#1#2{\Ibu0{#1}{#2}1{\advance\transpose -7\zq{#1}}\qh0{#1}{\advance\transpose -7\zq{#2}}\tqh0{#2}}% +%au moins trois croches basses et hautes +\def\tql#1#2#3{\Ibl0{#1}{#3}2\qb0{#1}\qb0{#2}\tqb0{#3}}% +\def\tqu#1#2#3{\Ibu0{#1}{#3}2\qh0{#1}\qh0{#2}\tqh0{#3}}% +%au moins deux doubles croches basses et hautes +\def\dqbb#1#2{\Ibbl0{#1}{#2}1\qb0{#1}\tqb0{#2}}% +\def\dqhh#1#2{\Ibbu0{#1}{#2}1\qh0{#1}\tqh0{#2}}% +%au moins trois doubles croches basses et hautes +\def\tqbb#1#2#3{\Ibbl0{#1}{#3}2\qb0{#1#2}\tqb0{#3}}% +\def\Tqbb#1#2#3{\ibbl0{#2}0\qb0{#1#2}\tqb0{#3}}% +\def\sTqbb#1#2#3{{\smallnotesize\Tqbb{#1}{#2}{#3}}}% +%au moins quatre croches basses et hautes +\def\qqb#1#2#3#4{\Ibl0{#1}{#4}3\qb0{#1#2#3}\tqb0{#4}}% +\def\Qqb#1#2#3#4{\Ibl0{#1}{#3}2\qb0{#1#2#3}\tqb0{#4}}% +\def\qqB#1#2#3#4{\Ibl0{#2}{#4}2\qb0{#1#2#3}\tqb0{#4}}% +\def\qqh#1#2#3#4{\Ibu0{#1}{#4}3\qh0{#1#2#3}\tqh0{#4}}% +\def\Qqh#1#2#3#4{\Ibu0{#1}{#3}2\qh0{#1#2#3}\tqh0{#4}}% +\def\qqH#1#2#3#4{\Ibu0{#2}{#4}2\qh0{#1#2#3}\tqh0{#4}}% +%au moins quatre doubles croches basses et hautes +\def\qqbb#1#2#3#4{\Ibbl0{#1}{#4}3\qb0{#1#2#3}\tqb0{#4}}% +\def\sqqbb#1#2#3#4{{\smallnotesize\qqbb{#1}{#2}{#3}{#4}}}% +\def\Qqbb#1#2#3#4{\Ibbl0{#1}{#3}2\qb0{#1#2#3}\tqb0{#4}}% +\def\sQqbb#1#2#3#4{{\smallnotesize\Qqbb{#1}{#2}{#3}{#4}}}% +\def\qqBB#1#2#3#4{\Ibbl0{#2}{#4}2\qb0{#1#2#3}\tqb0{#4}}% +\def\sqqBB#1#2#3#4{{\smallnotesize\qqBB{#1}{#2}{#3}{#4}}}% +\def\qqhh#1#2#3#4{\Ibbu0{#1}{#4}3\qh0{#1#2#3}\tqh0{#4}}% +\def\qqhhlow#1#2#3#4{{\advance\transpose -2\Ibbu0{#1}{#4}3}\qh0{#1#2#3}\tqh0{#4}}% +\def\Qqhh#1#2#3#4{\Ibbu0{#1}{#3}2\qh0{#1#2#3}\tqh0{#4}}% +\def\qqHH#1#2#3#4{\Ibbu0{#2}{#4}2\qh0{#1#2#3}\tqh0{#4}}% +\def\sqqHH#1#2#3#4{{\smallnotesize\qqHH{#1}{#2}{#3}{#4}}}% +% +\def\PlusH{\multnoteskip{1.5}} +\def\Double{\multnoteskip{2}} +\def\Triple{\multnoteskip{3}} +\def\Quadr{\multnoteskip{4}} +% +\instrumentnumber 3\relax +\setstaffs11\relax +\setstaffs22\relax +\setstaffs31\relax +\setclef1{6000} +\setclef2{6000} +\setclef3{0000} + +% +\signaturegenerale{-3}\relax % ut mineur +\def\quatretemps{\generalmeter{\meterfrac{4}{4}}}% +\def\troistemps{\generalmeter{\meterfrac{3}{4}}}% +\def\deuxtemps{\generalmeter{\meterfrac{2}{4}}}% +\def\Quatretemps{\generalmeter{\meterfrac{4}{2}}}% +\def\Troistemps{\generalmeter{\meterfrac{3}{2}}}% +\def\Deuxtemps{\generalmeter{\meterfrac{2}{2}}}% +\def\GO{{\bf I}} +\def\REC{{\bf III}} +\def\POS{{\bf II}} +\def\GO{{\bf GO}} +\def\REC{{\bf R\'ec.}} +\def\POS{{\bf Pos.}} +\def\Go{(\GO)} +\def\Rec{(\REC)} +\def\Pos{(\POS)} +%\check +\setname1{\vbox{\hbox{P\'ed. 16' }\hbox{8, 4, mix.}\hbox{sans acc.}}}% +\setname2{M. gauche}% +\setname3{M. droite}% +%\check + +\hbox to \hsize{\rm I (G.O.): Plein jeu, fonds 16' {\sl ad libitum.}\hss \rm +\ifx\pdfoutput\undefined Reg. dom~: 5-1, AA, sans tirasses, sans anches\fi +} + + +\hbox to \hsize{\rm II (Pos.) et III (R\'ecit): fonds 8', mixtures\hss}% + +\hbox to \hsize{\rm Claviers accoupl\'es \hss + \ifx\pdfoutput\undefined\rm Reg. Gif~: 1, 2, 4, 5/ 9---14, 16, 18---20, 22---25, 28/\fi +}% + +\hbox to \hsize{\rm P\'ed.: fonds 16, 6, 4, mixtures [anches 8, 4 +annul\'ees]\hss + \ifx\pdfoutput\undefined\rm 32, 33, 35---39, +41/ 46, 47, 48, 54\fi +}% +\smallskip + +% +\def\trioskip{\multiply\noteskip by 2\relax\divide\noteskip by 3\relax}% +\def\doubler{\multiply\noteskip by 2\relax}% +\staffbotmarg=10pt +\setstaffs11\relax +\setstaffs21\relax +\setstaffs31\relax +\setclef1{6000} +\setclef2{6000} +\setclef3{0000} +\setname2{M. gauche}% +\setname3{M. droite}% +\generalsignature{0} +\troistemps + %\check + % mesure-2 111 + \def\thefirstlinegoal{7}% +\debutmorceau +\systemnumbers\relax +\let\writebarnoOrg\writebarno +\def\writebarno{\vbox to 0pt{\vss\hbox{\writebarnoOrg}}}% +\def\freqbarno{9999}% + \NOtes&\zcharnote C{\kern -0.5em\GO}\zmidtwotext{\f}\relax + &\zcharnote n{\kern -0.5em\POS}\relax + \Uptext{\raise 10\Internote\hbox{\kern -16mm\moyen Allegro maestoso + \bf(\metron{\qu}{90})}}\enotes +\nspace +\nspace +\notes\Double\itenl1G\hup G\relax + &\sk\pause\relax + &\itenu2t\hlp t\enotes + \input cstsaen2.tex +%\def\freqbarno{4}% +%\barre + \znotes\zcharnote A{\null}\relax + &\zcharnote C{\kern -0.5em\POS}\zmidtwotext{\f}\relax + &\zcharnote n{\kern -0.5em\GO}\enotes +\input cstsaen3.tex + % \mulooseness -1\relax +\finmorceau + + + + + +\rightline{\sk\sk\sk\aujourdhui}\vfil\eject + + + +\bye + +\endinput + diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/gloriab.tex b/Master/texmf-dist/doc/generic/musixtex/examples/gloriab.tex index 2b455cee38a..8813989fc3b 100644 --- a/Master/texmf-dist/doc/generic/musixtex/examples/gloriab.tex +++ b/Master/texmf-dist/doc/generic/musixtex/examples/gloriab.tex @@ -1,9 +1,9 @@ -%\input musixtex -%\input musixcpt -%\input musixsty -\ifx\qh\undefined\let\qh\qb\fi % -\ifx\qhp\undefined\let\qhp\qbp\fi % -\ifx\qhpp\undefined\let\qhpp\qbpp\fi % +\input musixtex +\input musixcpt +\input musixsty +\ifx\qh\undefined\let\qh\qb\fi % +\ifx\qhp\undefined\let\qhp\qbp\fi % +\ifx\qhpp\undefined\let\qhpp\qbpp\fi % \parindent 15mm % \title{Gloria} diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/glorias.tex b/Master/texmf-dist/doc/generic/musixtex/examples/glorias.tex index 6d5bad41fbc..351730c6767 100644 --- a/Master/texmf-dist/doc/generic/musixtex/examples/glorias.tex +++ b/Master/texmf-dist/doc/generic/musixtex/examples/glorias.tex @@ -1,6 +1,6 @@ -%\input musixtex -%\input musixcpt -%\input musixsty +\input musixtex +\input musixcpt +\input musixsty % \parindent 15mm % diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/ilestne.tex b/Master/texmf-dist/doc/generic/musixtex/examples/ilestne.tex index c304a1eca58..dd9ce0b0180 100644 --- a/Master/texmf-dist/doc/generic/musixtex/examples/ilestne.tex +++ b/Master/texmf-dist/doc/generic/musixtex/examples/ilestne.tex @@ -1,4 +1,8 @@ - +\ifx\mxversion\undefined + \input musixtex + \input musixcpt + \input musixsty +\fi \resetfacteurs\advance\staffbotmarg by 2\Interligne \barsinline=0\relax\linesinpage=0\relax \def\Transpose{0}\relax @@ -9,5 +13,10 @@ \def\Transpose{-1}\relax \def\Signature{-1}\relax % un bemol a la clef \input ilestnex +\resetfacteurs\advance\staffbotmarg by 2\Interligne +\barsinline=0\relax\linesinpage=0\relax +\def\Transpose{-2}\relax +\def\Signature{-3}\relax % un bemol a la clef +\input ilestnex \bye diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/ilestnex.tex b/Master/texmf-dist/doc/generic/musixtex/examples/ilestnex.tex index 64da5c3b21e..c264edb9377 100644 --- a/Master/texmf-dist/doc/generic/musixtex/examples/ilestnex.tex +++ b/Master/texmf-dist/doc/generic/musixtex/examples/ilestnex.tex @@ -1,6 +1,7 @@ -\fulltitle{Il est n‚, le divin enfant} -\title{Il est n‚, le divin enfant} +\fulltitle{Il est n\'e, le divin enfant} +\title{Il est n\'e, le divin enfant} \author{traditionnel\\Harmonisation Pierre Darmon} +\shortauthor{traditionnel} \maketitle \tracingstats=1\relax @@ -29,8 +30,8 @@ \global\nbporteesii=1\relax \global\cleftoksi={{6}{0}{0}{0}}% \global\cleftoksii={{0}{0}{0}{0}}% -\def\lowersonginstrum{1} % to be used to make heavy bars at staff left -\def\uppersonginstrum{2} % to be used to make heavy bars at staff left +\songbottom{1} % to be used to make heavy bars at staff left +\songtop{2} % to be used to make heavy bars at staff left % \ifx\Signature\undefined\def\Signature{1}\fi \ifx\Transpose\undefined\def\Transpose{0}\fi @@ -71,7 +72,7 @@ \temps\Notes\zql N\qu b&\hsong{\txt |est|&}\qu g\enotes % %\check -\barre\Notes\zql N\qu b&\hsong{\txt |n‚|&}\qu g\enotes +\barre\Notes\zql N\qu b&\hsong{\txt |n\'e|&}\qu g\enotes \notes\rlap{\dqb NK}\dqu db&\zsong{\txt |le di-|&}\thelyrics\dqu ig\enotes % %\check @@ -88,7 +89,7 @@ % %\check \barre\hardlyrics{\txt |bois, |&}\notes\zql L\qu d&\hsong\thelyrics\ql i\enotes -\temps\notes\rlap{\dqb NL}\dqu ed&\zsong{\txt |r‚son-|&}\dql ji\enotes +\temps\notes\rlap{\dqb NL}\dqu ed&\zsong{\txt |r\'eson-|&}\dql ji\enotes % %\check \barre\Notes\zql M\qu c&\hsong{\txt |nez|&}\qu h\enotes @@ -104,7 +105,7 @@ \temps\notes\zql N\qu b&\zsong{\txt |est |&}\zql g\dqu lk\enotes % %\check -\barre\notes\zql N\qu b&\hsong{\txt |n‚ |&}\zql g\dqu lk\enotes +\barre\notes\zql N\qu b&\hsong{\txt |n\'e |&}\zql g\dqu lk\enotes \temps\notes\rlap{\dqb NK}\dqu db&\zsong{\txt |le di-|&}% \Ibl0 ig1\zqb0 i\loff{\Ibu1ji1\qh1j}\tbl0\zqb0g\tqh1i\enotes % @@ -125,7 +126,7 @@ \temps\notes\rlap{\dqb LJ}\qu a&\zsong{\txt |son a-|&}\zqu l\dql ji\enotes % %\check -\barre\Notes\zql K\qu d&\hsong{\txt |vŠ-|&}\zql h\qu m\enotes +\barre\Notes\zql K\qu d&\hsong{\txt |v\`e-|&}\zql h\qu m\enotes \temps\Notes\zql K\qu c&\hsong{\txt |ne-|&}\zql k\qu m\enotes % %\check @@ -160,7 +161,7 @@ \temps\Notes&\hsong{\txt |pro-|&}\zql g\qu i\enotes % %\check -\barre\Notes\tten0\qlp N&\hsong{\txt |phŠ-|&}\zql g\qu i\enotes +\barre\Notes\tten0\qlp N&\hsong{\txt |ph\`e-|&}\zql g\qu i\enotes \temps\notes&\hsong{\txt |tes|&}\zcl f\cu h\enotes \temps\notes\ds&\ds\enotes % diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/kv315org.tex b/Master/texmf-dist/doc/generic/musixtex/examples/kv315org.tex new file mode 100644 index 00000000000..ab58cef2736 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/kv315org.tex @@ -0,0 +1,813 @@ +\ifx\mxversion\undefined + \input musixtex + \input musixcpt + \input musixsty +\fi +\title{Andante KV 315}\subtitle{pour fl\^ute et orchestre} +\author{W. A. Mozart\\transcription pour orgue solo \`a 3 claviers\\(disposition +baroque avec G.O. entre R\'ecit et Positif)\\D. Taupin, 2001} +\shortauthor{W. A. Mozart / D. Taupin} + \othermention{R\'ecit : fl\^utes 8', 4', nazard {\it ad lib.} +\\G.O. : principaux 8', 4' +\\Positif : fonds 8', 4', 2' {\it ad lib.}, acc. G.O. +\\P\'edale : bourdon 16', tirasse positif +\csname HomeReg\endcsname} +\maketitle + +\parindent 2cm +\generalsignature{0} +\instrumentnumber{3} +\setname1{P\'edale 16'} +\setname2{Orgue} +\setname3{R\'ecit} +\setstaffs22 +\setclef1{6000} +\setclef2{6000} +\setclef3{0000} +\generalmeter{\meterfrac 24} +\def\dble{\multnoteskip 2} + +\def\FourStaff{\relax + \gdef\Nextstaff{\nextstaff}\relax + \setclef2{6000}\relax + \setstaffs22\relax} + +\def\ThreeStaff{\relax + \gdef\Nextstaff{\relax}\setstaffs21\relax + \setclef2{0000}\relax +} + + \FourStaff + +\systemnumbers +\def\freqbarno{9999} + + +\debutmorceau +\zbarre +\NOTes\qu J\qu G&\zmidtwotext{\llap{\bf G.O.}}\ql N\ql N|\zq c\zq e\qu j\zq d\zq f\qu i&\multnoteskip{0.7}\sk\pause\enotes +% +\barre %2 +\NOtes + \ibu0K0\lpz J\qh0J\lpz G\qh0G&\Ibl1Na2\upz c\zq c\qb1N\upz b\zq N\qb1b\relax + |\Ibl2fh2\upz j\zq e\qb2j\Pince n\multnoteskip{0.6}\zq g\qb2k\relax + {\multnoteskip{0.4}\tinynotesize\Ibbu3jk1\qh3j\tqh3k}\relax + &\soupir\enotes +\NOtes + \lpz J\tqh0J&\upz c\tqb1c\relax + |\zq g\tqb2l&\ds\enotes +\notes\ds&\zmidtwotext{\bf Pos.}\ds|\ds&\Ibbl0lm2\qbp0l\turn n\sk\tbbbl0\tqb0m\enotes +% +\barre %3 +\def\atnextline{\ThreeStaff}% +\notes\dble\cl J\ds\cl G\ds + &\Nextstaff\ibbu0e0\zcl N\qh0c\zq c\qh0e\zq e\qh0g\zq +e\tqh0c\zq e\ibbu0e0\qh0g\zq c\qh0e\zq d\qh0f\zq b\tqh0d\relax + &\Ibbl0nl1\qb0n\tqb0l\dble\isluru0j\ql j\sk\tslur0k\cl k\enotes +% +\barre %4 +\notes\dble\cu J\ds\cu C\ds\relax + &\Nextstaff\qs\ibbu0d0\zq b\qh0{^d}\zq c\qh0e\zq b\tqh0d\relax + \Ibbu0df3\zq c\qh0e\zq c\qh0e\zq {=d}\qh0f\zq e\tqh0g\relax + &\Ibl0kl2\qb0{^k}\sk\tqb0l\sk\qs\Ibbl0ln2\qb0{lm}\tqb0n\enotes +% +\barre %5 +\notes\dble\cu J\ds\cu J\ds + &\Nextstaff\qs\ibbu0g0\zq f\qh0h\zq c\qh0f\zq f\tqh0h\Ibbu0ig3\zq h\qh0j\zq +h\qh0j\sk\zq g\qh0i\zq f\tqh0h\relax + &\ibbl0o0\qb0o\tbbl0\qb0m\itenu0q\tqb0q\sk + \ibbl0o0\tten0\qbp0q\relax + {\multnoteskip{0.66}\sk\nbbbl0\qb0r\tqb0q}\relax + \Ibbl0po1\qb0p\tqb0o\enotes +% +\barre %6 +\notes\dble\cu J\ds\cu J\ds + &\Nextstaff\qs\Ibbu0fd2\zq f\qh0h\zq e\qh0g\zq{^d}\tqh0{^f}\relax + \ibbu0i0\zq e\qh0g\zq g\qh0j\zq c\qh0e\zq e\tqh0g\relax + &\dble\Ibl0on1\Pince q\qb0o\tqb0n\ds + \multnoteskip{0.33}\ibbl0n0\qbp0n\uppersh m\turn r\sk\tbbbl0\tqb0n\enotes +% +\barre %7 +\notes\dble \cu H\ds\qu{_H}\ds\relax + &\Nextstaff\qs\Ibbu0fj2\zq c\qh0f\zq f\qh0h\zq h\tqh0j\ds\Ibbu0fj2\zq c\qh0f\zq +f\qh0{_h}\zq h\tqh0j\relax + &\Ibbl0qo1\qb0q\tqb0o\dble\ql m\sk\cl m\enotes +% +\barre %8 +\Notes\cu G\relax + &\Nextstaff\qs\Ibbu0di2\zq b\qh0d\relax + &\multnoteskip{0.5}\Ibbbl1nk3\qb1{nml}\tqb1k\enotes +\notes\ds&\Nextstaff\zq d\qh0f\zq f\tqh0i\relax + &\ql k\sk\enotes +\notes\dble\cu J\sk\relax + &\Nextstaff\qs\ibbu0i0\zq f\qh0i\zq e\qh0j\zq e\tqh0g\relax + &\sk\sk\multnoteskip{0.7}\Ibbl0lj2\qbp0l\sk\tbbbl0\tqb0j\enotes +% +\barre %9 +\notes\dble\cu F\ds\cu G\ds + &\Nextstaff\dble\zql d\qup f\sk\Ibu0ad0\qh0N\zq{d}\tqh0b\relax + &\ibbl0i0\isluru0i\qb0i\tslur0h\qb0h\isluru0m\qb0m\tslur0k\tqb0k\relax + \ibbl0j0\isluru0j\qb0j\tslur0i\qb0i\isluru0n\qb0n\tslur0m\tqb0m\enotes +% +\barre %10 +\notes\dble\qu J\sk\Ibu0JI1\qh0J\tqh0I\relax + &\Nextstaff\zql N\ds\Ibbu0ef2\zq{^d}\qh0b\zq e\qh0c\zq +f\tqh0{=d}\Ibbu0eg3\zq{^f}\qh0{^d}\zq e\qh0{g}\zq{=d}\qh0h\zq i\tqh0g\relax + &\dble\Ibl0kl1\qb0{^k}\tqb0l\ds + \multnoteskip{0.4}\ibbl0n0\qbp0n\turn o\sk\tbbbl0\tqb0n\enotes +% +\barre %11 +\notes\dble\qu H\sk\qu{_H}\relax + &\Nextstaff\zcu j\raise -4\Internote\qs\Ibbu0fj2\zq f\qh0c\zq f\qh0h\zq h\tqh0j\relax + \qs\Ibbu0fj2\zq c\qh0f\zq f\qh0{_h}\zq h\tqh0j\relax + &{\multnoteskip{0.667}\triolet q\Ibbl0qm2\qb0{qo}\tqb0m}\relax + \dble\ql m\sk\cl m\enotes +% +\barre %12 +\notes\dble\Ibu0GF1\lpz G\qh0G\tqh0F\ds + &\Nextstaff\dble\lpz d\zq d\zq g\Ibu0ig1\qh0i\zq b\zq g\tqh0d\ds + &\ibbl0k0\qb0m\tbbl0\qb0p\tqb0p\sk\ds\enotes +\notes\cl L&\Nextstaff\zq c\cu g&\Ibbbl0qo3\qb0{qp_p}\tqb0o\enotes +% +\barre %13 +\notes\ql M\relax + &\Nextstaff\dble\dble\Ibu0fh1\zq c\qh0f\zq d\tqh0h\relax + &\ibbbl0n0\qb0{^no=p}\tqb0o\Ibbbl0nk3\qb0{=nml}\tqb0k\enotes +\Notes\dble\ql N\relax + &\Nextstaff\ds\Ibbu0gd2\zq e\qh0g\zq c\qh0e\zq b\tqh0d\relax + &\ibbl0j0\roff{\tbbl0}\qh0{jl}\sk + \multnoteskip{0.6}\nbbbl0\qb0m\tqb0k\enotes +% +\barre %14 +\notes\dble\qu J\sk\ql{_L}\relax + &\Nextstaff\Ibbu0bg3\qh0M\zq c\qh0N\zq c\qh0e\zq e\tqh0g\relax + \qs\Ibbu0ej2\zq c\qh0{_e}\zq e\qh0g\zq g\tqh0j\relax + &\pince n\Ibbl0kj2\qb0k\tbbl0\qb0 j\tqb0j\sk\ds\sk + \multnoteskip{0.67}\Ibbl0jn2\qbp0j\sk\tbbbl0\tqb0n\enotes +% +\barre %15 +\notes\hl K\relax + &\Nextstaff\dble\raise 4\Internote\rlap{\ds}\ibl1h0\qb1h\zqu k\qb1{^f}\relax + &\Ibbl0nm2\qb0n\tbbl0\qb0{^m}\itenu3m\tqb0m\enotes +\notes&\Nextstaff\multnoteskip{0.75}\dble\dble\qb1g\zcu j\tqb1h\relax + &\multnoteskip{0.75}\tten3\ibbbl0m0\qb0{mln}\tqb0m\Ibbbl0ol3\qb0{onm}\tqb0l\enotes +% +\barre %16 +\notes\hl K\relax + &\Nextstaff\dble\zql{^f}\raise 2\Internote\ds\Ibu0ji1\zq h\qh0j\raise -6\Internote\rlap{\ds}\relax + \zq g\tqh0i\zq g\cu i\relax + &\uppersh o\pince n\Ibbl0lk2\qb0l\tbbl0\qb0k\itenu3k\tqb0k\sk + \tten3\ibbl0k0\qb0k\tqb0p\multnoteskip{0.8}\Ibbbl0ol2\qb0{on^m}\tqb0l\enotes +% +\def\atnextline{\FourStaff}% +\barre %17 +\notes\hl K\relax + &\Nextstaff\dble\zql e\raise 2\Internote\ds\raise +-6\Internote\rlap{\ds}\Ibu0ih1\roff{\zq h\itenu0h}\qb0g\zq +{^f}\tten0\itenu0h\tqh0h\zq d\tten0\itenl0d\zq h\cu {^f}\relax + &\ibbl3k0\qb3k\tbbl3\qb3j\itenu3q\tqb3q\sk + \tten3\Ibbl0qj2\qb0{qo^m}\tqb0j\enotes +% +\barre %18 +\notes\dble\ql N\sk\soupir + &\Nextstaff\tten0\zq d\zq i\qu g\sk\sk\sk\ds\ibbu0f0\qh0d\zcl b\qh0g\tqh0{=f}\relax + &\Ibbl0ip3\qb0{ikn}\tqb0p\itenu4r\ql r\enotes +% +\barre %19 +\notes\hl L\relax + &\Nextstaff\rlap{\ibbu0j0\roff{\tbbu0}\qh0g\qh0l\sk\qh0k\sk\qh0j\sk\tbbu0\tqh0i}\relax + \dble\Ibl0eg3\qb0{e^gh}\tqb0{=g}\relax + &\tten4\Ibbl0rn7\roff{\tbbl0}\qb0r\qb0q\sk\qb0p\sk\qb0o\sk\tbbl0\tqb0n\enotes +% +\barre %20 +\NOtes\dble\qup K\sk\multnoteskip{0.5}\sk\ds + &\Nextstaff \dble\ibu0h0\zq{^f}\qh0h\zq f\tqh0h\multnoteskip{0.5}\zq f\cu h\ds + &{\multnoteskip{0.5}\Ibbbl0nk3\qb0{n^ml}\tqb0k\Ibbbl0jk3\qb0{^jkl}\tqb0k}\relax + \cl k\ds\enotes +% +\barre %21 +\Notes\cu G\ds\cu D\ds + &\uptext{\rlap{\bf G.O.}}\relax + \cl N\ds\cl K\ds|\zq b\zq g\cu d\ds\zq h\zq c\rq d\cu{^f}\ds + &\sk\sk\pause\enotes +% +\barre %22 +\Notes\Ibu0GI2\lpz G\qh0G\lpz H\qh0H\relax + &\Ibl3Nb3\upz N\qb3N\upz a\qb3a\relax + |\Ibu1ik2\lpz d\zq i\zq d\qh1g\lpz d\zq j\zq d\qh1{^f}\relax + &\soupir\enotes +\notes\lpz I\tqh0I\sk\ds + &\upz b\tqb3b\sk\ds + |\lpz d\zq d\zq k\tqh1g\sk\ds + &\qs\Ibbl2kp2\qb2{kn}\tqb2p\enotes +% +\def\atnextline{\ThreeStaff}% +\barre %23 +\NOtes\ql a\ql N\relax + &\Nextstaff\lsh m\zq k\itenu2k\zhl k\islurd0j\lq j\isluru1m\ql{m}\tten2\zq k\tslur0i\zq i\tslur1n\ql n\relax + &\itenu5r\hl r\enotes +% +\barre %24 +\NOtes\upz M\Ibl0Ma2\qb0{^M}\upz N\qb0N\upz a\tqb0a\relax + &\Nextstaff\upz o\lq j\zq k\Ibl0jk2\qb0o\Pince r\relax + \rlap{\multnoteskip{0.25}\sk\sk\tinynotesize\Ibbu1op1\qh1o\tqh1p}\relax + \zq k\qb0p\zq{^m}\tqb0q\relax + &\tten5\itenu5r\ql r\sk + \tten5\multnoteskip{0.6}\ibbl0r0\qb0r\relax + \nbbbl0\multnoteskip{0.6}\qb0s\tqb0r\enotes +\notes\ds&\Nextstaff\ds&\multnoteskip{0.72}\Ibbbl0ro3\qb0{rqp}\tqb0o\enotes +% +\barre %25 +\Notes\ql N\relax + &\Nextstaff\zmidtwotext{\bf Pos.}\qs\ibbu1i0\zq b\qh1g\relax + &\multnoteskip{0.5}\ibbbl0n0\qb0{nop}\tqb0o\enotes +\notes\dble\sk\ql b\relax + &\Nextstaff\zq i\qh1k\zq g\tqh1i\ibbu0g0\zq d\qh0g\zq d\qh0g\zq d\qh0g\zq d\tqh0g\relax + &\dble\isluru0n\ql n\sk\tslur0m\cl{^m}\enotes +% +\barre %26 +\Notes\ql c\relax + &\Nextstaff\qs\ibbu1g0\zq e\qh1g\relax + &\multnoteskip{0.5}\ibbbl0l0\qb0{l^mn}\tqb0m\enotes +\notes\dble\sk\ql N\relax + &\Nextstaff\qh1e\zq g\tqh1e\ibbu0i0\zq j\qh0g\zq j\qh0g\zq i\qh0g\zq i\tqh0g\relax + &\dble\isluru0l\ql l\sk\tslur0k\cl{k}\enotes +% +\barre %27 +\notes\ql a\relax + &\Nextstaff\ds\ibbu0g0\zq e\qh0g\zq e\qh0g\zq e\tqh0g\relax + &\ibl0j0\xTrille n{3\noteskip}\qbp0j\sk\sk\nbbbl0\multnoteskip{0.7}\qb0i\tqb0j\enotes +\notes\ql K\relax + &\Nextstaff\ibbu0h0\zq{^f}\qh0h\zq f\qh0h\zq f\qh0h\zq f\tqh0h\relax + &\Ibl0kj2\isluru0k\qb0k\sk\tslur0j\tqb0j\enotes +% +\barre %28 +\NOtes\ds\Ibl1LJ3\qb1L\relax + &\Nextstaff\ds\zql b\zq g\ibu2g0\qu2g\relax + &\Ibu3hi1\islurd3h\qh3{^h}\tslur3i\tqh3i\enotes +\notes\dble\dble\qb1K\tqb1J\relax + &\Nextstaff\dble\dble\qh2{^f}\zcl e\tqh2g\relax + &\hs\Ibbbu0gi2\qh0{g=h}\tqh0i\Ibbbl0jm3\qb0{jkl}\tqb0{^m}\enotes +% +\barre %29 +\Notes\cu I\relax + &\Nextstaff\zqup g\raise -6\Internote\qs\ibbl1f0\zq b\qb1d\relax + &\multnoteskip{0.5}\ibbbl0n0\qb0{nop}\tqb0o\enotes +\notes\dble\ds\cu I\ds + &\Nextstaff\zq d\qb1b\zq d\tqb1b\Ibbl0ef3\zq b\qb0d\zq b\qb0d\zcu +{^g}\qb0g\zq d\tqb0f\relax + &\itenu0n\cl n\sk\tten0\ibbl0o0\qb0{nrq}\tqb0p\enotes +% +\def\atnextline{\FourStaff}% +\barre %30 +\notes\ibu1J0\qh1J\sk\qh1J\relax + &\Nextstaff\Ibbu0ih2\zq d\zq i\qh0f\zq c\zq h\tbbu0\qh0e\zq {hc}\tqh0e\relax + &\Ibbl0no1\qb0{^n}\tqb0o\qs\ccl s\enotes +\Notes\dble\qh1J\tqh1J\relax + &\Nextstaff\dble\Ibu0jl1\zq {je}\qh0h\zq {lh}\tqh0j\relax + &\multnoteskip{0.5}\qs\sk\Ibbbl0rq1\qb0r\tqb0q\qs\sk\Ibbbl0po1\qb0p\tqb0o\enotes +% +\barre %31 +\Notes\ql K\relax + &\Nextstaff\qs\Ibbu1ik2\zq g\qh1i\relax + &\multnoteskip{0.71}\ibbl3n0\qbp3p\sk\tbbbl3\tbbl3\qb3n\enotes +\Notes\dble\sk\ql K\relax + &\Nextstaff\zq k\qh1i\zq k\tqh1i\Ibbu0ki3\zq k\qh0i\lsh h\zq{^j}\zq e\qh0h\zq{=j}\lna +h\zq{^f}\qh0h\zq i\tqh0g\relax + &\itenu1r\tqb3r\sk\tten1\Ibbl0rp3\qb0{r^q=q}\tqb0p\enotes +% +\barre %32 +\Notes\ql K\relax + &\midtwotext{\bf G.O.}|\zqu h\itenu2h\raise -4\Internote\qs\ibbl0g0\qh0{gg}\tqb0g\relax + &\zhl o\xTrille q{8\noteskip}\enotes +\notes\dble\zcl K\sk\sk\ds + &\Nextstaff\zcl {^f}\tten2\Ibbbu0hi3\qh0{hij}\tqh0i\Ibbbu0jm3\qh0{jkl}\tqh0{^m}\relax + &\sk\sk\sk\sk\sk\sk\sk\multnoteskip{0.7}\tinynotesize\Ibbbu0lm1\qh0n\tqh0o\enotes +% +\barre %33 +\notes\qu G\relax + &\Nextstaff\Uptext{\bf m.g.}\Ibbbl0no3\qb0{nop}\tqb0o\relax + &\itenu3n\cl n\enotes + \nspace +\Notes\dble\sk\qu I\sk\relax + &\zcharnote f{\bf m.g.}\qs\ccl d\ibbl0N0\qb0{bNb}\tqb0N\relax + |\bracket m{22}\Uptext{\bf m.d.}\dble\isluru0n\ql n\sk\tslur0k\cl{^m}\relax + &\dble\tten3\cl n\ds\soupir\enotes +% +\barre %34 +\notes\qu J\relax + &\qs\sk\ibbl1M0\qh1N\relax + |\Ibbbl0lm3\qb0{l^mn}\tqb0m\relax + &\enotes +\Notes\dble\sk\Ibu0JK1\qh0J\tqh0K\relax + &\qb1c\tqb1N\Ibbl0aM3\qb0{cNb}\tqb0N\relax + |\dble\isluru0l\ql l\sk\tslur0k\cl k\relax + &\dble\sk\pause\enotes +% +\barre %35 +\notes\zqlp L\relax + &\Ibbbl0LM3\qb0{L=MN}\tqb0M\relax + |\Ibbbl0jk3\qb0{jkl}\tqb0k\relax + &\enotes +\Notes\dble\sk\sk\cl K\relax + &\ibbl0L0\qb0L\tqb0N\Ibbl0LK2\qb0{LN}\qb0K\tqb0N\relax + |\dble\isluru0j\ql j\sk\tslur0i\cl i\relax + &\dble\sk\pause\enotes +% +\barre %36 +\Notes\qu J\relax + &\Ibl0Lc3\qb0L\sk\nbbl0\qb0a\tqb0c\relax + |\rlap{\dble\ibl0g0\qb0e\tqb0e}\Ibbu0gl3\qh0{^ghj}\tqh0l\enotes +\notes\qu K\relax + &\ibl0d0\qb0d\sk\sk\tqb0d\relax + |\islurd0k\Ibbu0ki2\qhp0k\sk\tbbbu0\tqh0i\Ibbbu0kh3\qh0{kji}\tslur0h\tqh0h\relax + &\sk\pause\enotes +% +\barre %37 +\Notes\cu G\sk\ds + &\zq {Nb}\cl d\sk\ds|\cu g\sk\ds + &\qs\isluru0g\Ibbl0gk2\qb0{gi}\tqb0k\enotes +\notes\soupir&\soupir|\soupir + &\tslur0n\ibbbl0n0\qb0n\upz k\qb0k\upz l\qb0l\upz +m\tqb0{^m}\Ibbbl0nq3\upz n\qb0n\upz o\qb0o\upz p\qb0p\upz q\tqb0q\enotes +% +\barre %38 +\Notes\cu G\ds\cu D\ds\relax + &\Nextstaff\zq {_bd}\cu g\ds\zq{ac}\rq d\cu{^f}\sk + &\itenu0r\hl r\enotes +% +\barre %39 +\Notes\Ibl1GN2\upz G\qb1G\upz K\qb1K\relax + &\Nextstaff\Ibu2gi2\lpz b\zq{_bd}\qh2g\lpz d\zq{d^f}\qh2h\relax + &\tten0\itenu0r\ql r\enotes +\notes\upz N\tqb1N\sk\ds + &\Nextstaff\lpz d\zq{dg}\tqh2{_i}\sk\ds + &\tten0\ibbl0r0\qb0{rrr}\tqb0r\enotes +% +\barre %40 +\notes\hu H\relax + &\qs\Ibbu0Ma1\qh0{^Ma}\tqh0c\relax + &\dble\dble\isluru1s\ql{_s}\enotes +\notes + &\Nextstaff\Ibbu0ej3\qh0{_e^fh}\tqh0j\relax + &\tslur1m\ql{^m}\enotes +% +\barre %41 +\NOtes\lpz I\Ibu0IG2\qh0{_I}\lpz F\qh0{^F}\lpz G\tqh0G\ds + &\Nextstaff\lpz d\Ibu0ki2\zq{dg}\qh0k\lpz d\zq{dh}\qh0j\lpz d\zq{dg}\tqh0{_i}\ds + &\Ibl0no1\qb0n\turn q\upperfl r\qb0o\tqb0{_p}\ds + \enotes +% +\barre %42 +\notes\qu J&\zmidtwotext{\bf Pos.}|\ds&\multnoteskip{0.8}\ibbbl0o0\qb0{_poq}\tqb0o\enotes +\Notes\sk\qu K\relax + &\Nextstaff\Ibl0jh2\zq{_l}\qb0j\zq k\qb0{_i}\zq j\tqb0 h\relax + &\isluru0n\ql n\sk\tslur0m\cl{^m}\enotes +% +\barre %43 +\notes\dble\ql N\sk\ql{=M}\relax + &\Nextstaff\zhl d\Ibbu0ji3\zq{^f}\qh0j\zq g\qh0{_i}\zq g\qh0i\zq g\tqh0i\relax + \qs\ibbu0i0\zq g\qh0i\zq f\qh0h\zq g\tqh0i\relax + &\Ibbl0on2\qb0o\tbbl0\qb0n\tqb0n\sk\ds\sk\cl n\enotes +% +\barre %44 +\notes\dble\qu L\sk\qu K\relax + &\Nextstaff\zql{^c}\qs\ibbu0i0\zq g\qh0{_i}\zq{^f}\qh0h\zq g\tqh0i\relax + \zql d\qs\ibbu0i0\zq g\qh0i\zq f\qh0h\zq g\tqh0i\relax + &\itenu1n\ql n\sk\sk\sk\tten1\ibbl0n0\qb0n\qb0n\qb0{^m}\tqb0n\enotes +% +\barre %45 +\notes\dble\qu{^J}\sk\qu K\relax + &\Nextstaff\zql e\ibbu0h0\qh0{gh^g}\tqh0h\ibbu0h0\zq d\qh0{=f}\zq f\qh0h\zq +e\qh0{=g}\zq d\tqh0f\relax + &\Ibbl0po2\qb0{_p}\tbbl0\qb0o\itenu0o\tqb0o\sk + \tten0\Ibbl0oq3\qb0{or^q}\tqb0r\enotes +% +\barre %46 +\notes\qu E\relax + &\zmidtwotext{\bf G.O.}\qs\Ibbu0JN2\qh0{^JL}\tqh0N\relax + &\dble\dble\isluru1p\ql{_p}\enotes + \nspace +\notes\soupir + &\Nextstaff\Ibbu0bg3\qh0{_b^ce}\tqh0g\relax + &\tslur1j\ql{^j}\enotes +% +\barre %47 +\def\atnextline{\ThreeStaff}% +\NOtes\lpz F\Ibu0FK2\qh0F\lpz J\qh0{^J}\lpz K\tqh0K\ds + &\Nextstaff\lpz a\Ibu0hf2\zq{ad}\qh0h\lpz a\zq{ae}\qh0g\lpz a\zq{ad}\tqh0f\ds + &\Ibl0kl1\qb0k\turn n\qb0l\tqb0m\ds + \enotes +% +\barre %48 +\notes\ql N\relax + &\zmidtwotext{\bf Pos.}|\ds&\multnoteskip{0.8}\ibbbl0l0\qb0{mln}\tqb0l\enotes +\Notes\sk\ql a\relax + &\Nextstaff\Ibu0hf2\zq{_i}\qh0g\zq h\qh0f\zq g\tqh0 e\relax + &\isluru0k\ql k\sk\tslur0j\cl{^j}\enotes +% +\barre %49 +\notes\dble\qu K\sk\ql{=b}\relax + &\Nextstaff\ibbu0g0\zq{^c}\qh0h\zq d\qh0f\lpz d\zq d\qh0f\lpz d\zq d\tqh0f\zq d\qh0{^g}\relax + &\Ibbl0lk2\qb0l\tbbl0\qb0k\tqb0k\sk\qs\ibbl0m0\qb0{mm}\tqb0m\enotes +% +\barre %50 +\notes\dble\qu J\sk\ql{^N}\relax + &\Nextstaff\qs\ibbu0i0\zq e\qh0h\zq e\qh0h\zq e\tqh0h\zq e\qh0{=i}\relax + &\Ibbl0ml2\qb0m\tbbl0\qb0l\tqb0l\sk\qs\ibbl0k0\qb0{kk}\tqb0k\enotes +% +\barre %51 +\notes\dble\qu H\sk\qu F\relax + &\Nextstaff\zcl e\Ibbu0ih1\qh0i\tqh0h\zq c\dble\qu h\relax + &\ibbl0k0\qb0k\tbbl0\qb0j\itenu0o\tqb0o\sk + \multnoteskip{0.6}\Ibbl0om3\tten0\qb0o\sk\nbbbl0\qb0n\tqb0m\enotes +\notes&\Nextstaff\zq a\cu h&\Ibbl0lk1\qb0l\tqb0{^k}\enotes +% +\def\atnextline{\FourStaff}% +\barre %52 +\notes\dble\qu E\sk\cu L\ds + &\Nextstaff\Ibbu0hg3\zq c\qh0h\zq b\qh0{^g}\zq b\zq e\qh0g\zq b\zq e\tqh0g\dble\zq + {be}\cu g\ds + &\Ibbl0kl2\qb0{^k}\tbbl0\qb0l\tqb0l\sk\qs\ibbl0l0\qb0{ll}\tqb0l\enotes +% +\barre %53 +\notes\qs\ibbl0K0\qb0{KK}\tqb0K\relax + &\Nextstaff\qs\ibbu0i0\rq g\sh g\zq f\qh0i\rq g\zq f\qh0i\rq g\zq f\tqh0i\relax + &\Ibbl0nm2\qb0n\tbbl0\qb0m\tqb0m\enotes +\notes\multnoteskip{0.7}\cl K\sk\sk\sk\ds + &\Nextstaff\multnoteskip{0.7}\zq f\rq g\cu i\sk\sk\sk\ds + &\multnoteskip{0.7}\hs\ibbbl0l0\qb0{ml}\tqb0m\ibbbl0l0\qb0{nml}\tqb0m\enotes +% +\barre %54 +\notes\zql G\raise3\Internote\qs\ibbl0N0\qb0{NN}\tqb0N\relax + &\Nextstaff\zcharnote N{\bf G.O.}\relax + \qs\ibbu0i0\zq d\zq f\qh0i\zq d\zq f\qh0i\zq d\zq f\tqh0i\relax + &\Ibbl0qp2\qb0q\tbbl0\qb0p\tqb0p\enotes +\notes\multnoteskip{0.7}\cl N\sk\sk\sk\ds + &\Nextstaff\multnoteskip{0.7}\zq f\rq g\cu i\sk\sk\sk\ds + &\multnoteskip{0.7}\hs\ibbbl0o0\qb0{po}\tqb0p\ibbbl0o0\qb0{qpo}\tqb0p\enotes +% +\barre %55 +\NOTes\qu J\qu G\relax + &\sk\cl N|\zq c\zq j\qu e\zq d\zq g\qu i&\ql q\soupir\enotes +% +\barre %56 +\NOtes + \ibl0K0\upz J\qb0J\upz N\qb0 N\relax + &\ibl1b0\qb1{cb} + |\Ibl2fh2\zq {ce}\qb2j\zq g\Pince n\multnoteskip{0.6}\qb2k\relax + {\multnoteskip{0.4}\tinynotesize\Ibbu3jk1\qh3j\tqh3k}\relax + &\soupir\enotes +\NOtes + \upz J\tqb0J\relax + &\tqb1c|\zq g\tqb2l&\ds\enotes +\notes\ds&\zmidtwotext{\bf Pos.}\ds&\Ibbl0lm2\qbp0l\turn o\sk\tbbbl0\tqb0m\enotes +\def\atnextline{\ThreeStaff}% +% +\barre %57 +\notes\dble\cu J\ds\cu G\ds + &\Nextstaff\ibbu0e0\zq N\qh0c\zq c\qh0e\zq e\qh0g\zq e\tqh0c\zq e\ibbu0e0\qh0g\zq +c\qh0e\zq d\qh0f\zq b\tqh0d\relax + &\Ibbl0nl1\qb0n\tqb0l\dble\isluru0j\ql j\sk\tslur0k\cl k\enotes +% +\barre %58 +\notes\dble\cu J\ds\cu J\ds\relax + &\Nextstaff\qs\ibbu0d0\zq b\qh0{^d}\zq c\qh0e\zq b\tqh0d\relax + \Ibbu0df3\zq c\qh0e\zq c\qh0e\zq {=d}\qh0f\zq e\tqh0g\relax + &\Ibl0kl2\qb0{^k}\sk\tqb0l\sk\qs\Ibbl0ln2\qb0{lm}\tqb0n\enotes +% +\barre %59 +\notes\dble\cu J\ds\cu J\ds + &\Nextstaff\qs\ibbu0g0\zq f\qh0h\zq c\qh0f\zq f\tqh0h\Ibbu0ig3\zq h\qh0j\zq +h\qh0j\sk\zq g\qh0i\zq f\tqh0h\relax + &\ibbl0o0\qb0o\tbbl0\qb0m\itenu0q\tqb0q\sk + \ibbl0o0\tten0\qbp0q\relax + {\multnoteskip{0.66}\sk\nbbbl0\qb0r\tqb0q}\relax + \Ibbl0po1\qb0p\tqb0o\enotes +% +\barre %60 +\notes\dble\cu J\ds\cu J\ds + &\Nextstaff\qs\Ibbu0fd2\zq f\qh0h\zq e\qh0g\zq{^d}\tqh0{^f}\relax + \ibbu0i0\zq e\qh0g\zq g\qh0j\zq c\qh0e\zq e\tqh0g\relax + &\dble\Ibl0on1\Pince q\qb0o\tqb0n\ds + \multnoteskip{0.33}\ibbl0n0\qbp0n\turn p\sk\tbbbl0\tqb0n\enotes +% +\barre %61 +\notes\dble\qu H\sk\qu{_H}\relax + &\Nextstaff\qs\Ibbu0fj2\zq c\qh0f\zq f\qh0h\zq h\tqh0j\ds\Ibbu0fj2\zq c\qh0f\zq +f\qh0{_h}\zq h\tqh0j\relax + &\Ibbl0qo1\qb0q\tqb0o\dble\ql m\sk\cl m\enotes +% +\barre %62 +\Notes\qu G\relax + &\Nextstaff\qs\Ibbu2di2\zq b\qh2d\relax + &\multnoteskip{0.5}\Ibbbl3nk3\qb3{nml}\tqb3k\enotes +\notes&\Nextstaff\zq d\qh2f\zq f\tqh2i\relax + &\ql k\sk\enotes +\notes\dble\Ibu0GJ1\qh0G\tqh0J\relax + &\Nextstaff\qs\ibbu0i0\zq f\qh0i\zq e\qh0j\zq e\tqh0g\relax + &\sk\sk\multnoteskip{0.7}\Ibbl0lj2\qbp0l\sk\tbbbl0\tqb0j\enotes +% +\barre %63 +\notes\dble\qu F\sk\qu G\relax + &\Nextstaff\dble\zq d\qup f\sk\Ibu0bd1\qh0N\zq b\tqh0d\relax + &\ibbl0i0\isluru0i\qb0i\tslur0h\qb0h\isluru0m\qb0m\tslur0k\tqb0k\relax + \ibbl0j0\isluru0j\qb0j\tslur0i\qb0i\isluru0n\qb0n\tslur0m\tqb0m\enotes +% +\barre %64 +\notes\dble\qu J\sk\Ibu0JI1\qh0J\tqh0I\relax + &\Nextstaff\zcl N\qs\Ibbu0ef2\zq b\qh0{^d}\zq c\qh0e\zq{=d}\tqh0f\relax + \Ibbu0fi3\zq{^d}\qh0{^f}\zq e\qh0g\zq{=d}\qh0h\zq g\tqh0i\relax + &\dble\Ibl0kl1\qb0{^k}\tqb0l\ds + \turn p\multnoteskip{0.4}\ibbl0n0\qbp0n\sk\tqb0n\enotes +% +\barre %65 +\notes\dble\qu H\sk\qu{_H}\relax + &\Nextstaff\zcu j\raise -4\Internote\qs\Ibbu0fj2\zq f\qh0c\zq f\qh0h\zq h\tqh0j\relax + \qs\Ibbu0fj2\zq c\qh0f\zq f\qh0{_h}\zq h\tqh0j\relax + &{\multnoteskip{0.667}\triolet q\Ibbl0qm2\qb0{qo}\tqb0m}\relax + \dble\ql m\sk\cl m\enotes +% +\barre %66 +\notes\dble\Ibu0HM1\lpz G\qb0G\lpz M\tqh0M\ds + &\Nextstaff\dble\lpz d\zq d\Ibu0ig1\zq i\qh0g\lpz b\zq g\zq b\tqh0d\ds + &\ibbl0k0\qb0m\tbbl0\qb0p\tqb0p\sk\ds\enotes +\notes\cl L&\Nextstaff\zq c\cu g&\Ibbbl0qo3\qb0{qp_p}\tqb0o\enotes +% +\barre %67 +\notes\ql M\relax + &\Nextstaff\dble\dble\Ibu0fh1\zq f\qh0c\zq h\tqh0d\relax + &\ibbbl0n0\qb0{^no=p}\tqb0o\Ibbbl0nk3\qb0{=nml}\tqb0k\enotes +\Notes\dble\ql N\relax + &\Nextstaff\ds\Ibbu0gd2\zq e\qh0g\zq c\qh0e\zq b\tqh0d\relax + &\ibbl0j0\roff{\tbbl0}\qh0{jl}\sk + \multnoteskip{0.6}\nbbbl0\qb0m\tqb0k\enotes +% +\barre %68 +\notes\dble\qu J\sk\dble\ql N\relax + &\Nextstaff\Ibbu0bg3\qh0M\zq c\qh0N\zq c\qh0e\zq e\tqh0g\qs + \Ibbu0ej2\zq c\qh0{e}\zq e\qh0g\zq g\tqh0j\relax + &\pince n\Ibbl0kj2\qb0k\tbbl0\qb0 j\tqb0j\sk\ds\sk + \multnoteskip{0.67}\Ibbl0jj2\qbp0j\sk\tbbbl0\tqb0j\enotes +% +\barre %69 +\Notes\qu J\relax + &\Nextstaff\qs\Ibbu0fj2\zq c\qh0{^f}\zq f\qh0h\zq h\tqh0j\relax + &\Ibbl0jn2\qb0{^j}\tbbl0\qb0k\itenu0r\tqb0r\enotes +\notes\qu{_I}\relax + &\Nextstaff\dble\qs\Ibbu0gk2\zq d\qh0g\zq g\qh0{_i}\zq i\tqh0k\relax + &\tten0\isluru0r\Ibbbl0ro3\qb0{r=q_p}\tqb0o\Ibbbl0nk3\qb0{nml}\tslur0k\tqb0k\enotes +% +\barre %70 +\def\atnextline{\FourStaff}% +\Notes\qu J\relax + &\Nextstaff\qs\Ibbu0gk2\zq d\qh0g\zq g\qh0{_i}\zq i\tqh0k\relax + &\pince m\ibbl0j0\qb0k\tbbl0\qb0j\itenu0q\tqb0q\enotes +\notes\qu H\relax + &\Nextstaff\dble\qs\Ibbu0fj2\zq c\qh0{=f}\zq f\qh0h\zq h\tqh0j\relax + &\tten0\isluru0q\Ibbbl0qn3\qb0{q_po}\tqb0n\Ibbbl0mj3\qb0{mlk}\tslur0j\tqb0j\enotes +% +\barre %71 +\Notes\qu J\relax + &\Nextstaff\qs\Ibbu0fj2\zq N\qh0d\zq d\qh0f\zq f\tqh0h\relax + &\pince m\ibbl0i0\qb0j\tbbl0\qb0{_i}\itenu0p\tqb0{_p}\enotes +\Notes\qu J\relax + &\Nextstaff\ibbu0g0\zq e\qh0{g_ih}\tqh0g\relax + &\tten0\ibbl0p0\qb0{prq}\tqb0p\enotes +% +\barre %72 +\notes\dble\ibl0N0\qb0M\qb0N\qb0a\tqb0N\relax + &\Nextstaff\dble\ibu0g0\zq c\qh0f\zq c\qh0e\zq c\qh0f\zq c\tqh0g\relax + &\Ibbl0nl7\roff{\tbbl0}\qb0{^no}\sk\qb0{=n}\sk\qb0m\sk\tbbl0\tqb0l\enotes +% +\barre %73 +\notes\dble\dble\ibl0M0\qb0{MMM}\tqb0M\relax + &\Nextstaff\zhlp a\dble\dble\ibu0h0\qh0{hhh}\zcl f\tqh0h\relax + &\isluru0k\Ibbbl0jk3\qb0{^jkl}\tqb0k\Ibbbl0lm3\qb0{lmn}\tslur0m\tqb0m\relax + \isluru0n\Ibbbl0no3\qb0{^nop}\tqb0o\Ibbbl0nk3\qb0{=nml}\tslur0k\tqb0k\enotes +% +\barre %74 +\notes\dble\ql N\sk\relax + &\Nextstaff\ibl0e0\zqu g\itenu0g\qbp0e\sk\multnoteskip{0.7}\sk\nbbbl0\qb0f\tqb0e\relax + &\ibl0j0\qbp0j\sk\multnoteskip{0.7}\sk\nbbbl0\qb0k\tqb0j\enotes +\Notes\cu G\ds + &\Nextstaff\tten0\zcl d\cu g\ds + &\cl i\ds\enotes +% +\barre %75 +\NOtes\cu J\ds\cl N\ds\relax + &\zmidtwotext{\bf G.O.}\cl c\ds\cl b\ds\relax + |\zq g\zq e\cu j\ds\zq d\zq g\zq i\cu k\ds + &\sk\sk\pause\enotes +% +\barre %76 +\def\atnextline{\ThreeStaff}% +\Notes\lpz J\Ibu1JL1\qh1J\lpz K\qh1K\relax + &\Ibl2ce2\upz c\qb2c\upz d\qb2d\relax + |\upz l\Ibl3gi2\zq j\zq g\qb3l\upz m\zq g\zq i\qb3m\relax + &\soupir\enotes +\notes\lpz L\tqh1L\sk\ds + &\upz e\tqb2e\sk\ds + |\upz n\zq g\zq j\tqb3n\sk\ds + &\qs\Ibbl0gl2\qb0{gj}\tqb0l\enotes +% +\barre %77 +\NOtes\ql M\ql L\relax + &\Nextstaff\zq i\zq d\qu g\zq e\zq j\qu g\relax + &\itenu3n\hl n\enotes +% +\barre %78 +\NOtes\Ibu1IK2\lpz I\qh1I\lpz J\qh1J\relax + &\Nextstaff\Ibl3fh2\zq i\zq g\qb3k\Pince n\multnoteskip{0.33}\zq j\zq g\qb3l\sk\tinynotesize\Ibbu0kl1\qh0k\tqh0l\relax + &\tten3\itenu3n\ql n\enotes +\notes\lpz K\tqh1K\sk\ds + &\Nextstaff\Uptext{\hbox to 4\noteskip{\hss\bf R\'ec./G.O.}}\zq g\zq i\tqb3m\sk\ds + &\tten3\Ibbl0np3\qb0{n^no}\tqb0p\enotes +% +\barre %79 +\Notes\qu J\relax + &\zmidtwotext{\bf Pos.}\Nextstaff\qs\Ibbl1ij2\zq e\qb1j\relax + &\multnoteskip{0.5}\ibbbl0q0\qb0{qrs}\tqb0r\enotes +\notes\dble\sk\qu L\relax + &\Nextstaff\zq l\qb1n\zq j\tqb1l\ibbu0i0\zq j\qh0g\zq j\qh0g\zq j\qh0g\zq j\tqh0g\relax + &\dble\isluru0q\ql q\sk\tslur0p\cl p\enotes +% +\barre %80 +\Notes\ql M\relax + &\Nextstaff\qs\Ibbl1hg0\zq h\qb1j\relax + &\multnoteskip{0.5}\ibbbl0o0\qb0{opq}\tqb0p\enotes +\notes\dble\sk\qu J\relax + &\Nextstaff\zq m\qb1j\zq j\tqb1h\ibbu0h0\zq f\qh0h\zq f\qh0h\zq e\qh0g\zq e\tqh0g\relax + &\dble\isluru0o\ql o\sk\tslur0n\cl n\enotes +% +\barre %81 +\notes\qu K\relax + &\Nextstaff\qs\ibbu0i0\zq j\qh0h\zq j\qh0h\zq j\tqh0h\relax + &\ibl0m0\xTrille o{3\noteskip}\qbp0m\sk\sk\nbbbl0\multnoteskip{0.7}\qb0l\tqb0m\enotes +\notes\qu G\relax + &\Nextstaff\ibbu0h0\zq g\qh0i\zq g\qh0i\zq g\qh0i\zq g\tqh0i\relax + &\Ibl0nm2\isluru0n\qb0n\sk\tslur0m\tqb0m\enotes +% +\barre %82 +\NOtes\ds\Ibu1HF3\qh1H\relax + &\Nextstaff\ds\zql e\ibu2i0\qh2j\relax + &\Ibl3kl1\isluru3k\qh3{^k}\tslur3l\tqb3l\enotes +\notes\dble\dble\qh1G\tqh1F\relax + &\Nextstaff\dble\dble\rq j\qh2i\zcl f\zq h\tqh2j\relax + &\hs\Ibbbl0jl2\qh0{j=k}\tqb0l\Ibbbl0mp3\qb0{mno}\tqb0p\enotes +% +\barre %83 +\Notes\cu E\relax + &\Nextstaff\zqu j\raise -6\Internote\qs\ibbl1f0\zq e\qb1g\relax + &\multnoteskip{0.5}\ibbbl0q0\qb0{qrs}\tqb0r\enotes +\notes\dble\ds\cu J\ds + &\Nextstaff\raise 3\Internote\rlap{\ds}\zq e\qb1g\zq e\tqb1g\ibbl0f0\zq e\qb0g\zq +g\qb0{_i}\zcu j\zq f\qb0h\zq e\tqb0{^g}\relax + &\itenu0q\cl q\sk\tten0\Ibbl0qn3\qb0{q_po}\tqb0{^n}\enotes +% +\def\atnextline{\FourStaff}% +\barre %84 +\notes\ibu1M0\qh1M\relax + &\Nextstaff\ibu3j0\zq {fh}\qh3j\relax + &\Ibbl0no1\qb0{^n}\tqb0o\enotes +\Notes\dble\qh1M\qh1M\tqh1M\relax + &\Nextstaff\dble\zq j\qh3h\zq h\qh3f\zq k\tqh3h\relax + &\multnoteskip{0.5}\qs\sk\Ibbbl0rq1\qb0r\tqb0q\relax + \qs\sk\Ibbbl0po1\qb0{=p}\tqb0o\relax + \qs\sk\Ibbbl0nm1\qb0{=n}\tqb0m\enotes +% +\barre %85 +\notes\dble\ql N\sk\ql N\relax + &\Nextstaff\qs\ibbu0f0\zq c\qh0e\zq e\qh0g\zq e\tqh0e\relax + \Ibbu0ge3\zq e\qh0g\zq{a^d}\qh0{^f}\zq{b=d}\qh0{=f}\zq c\tqh0e\relax + &\Ibbl0ln2\qb0l\tbbl0\qb0n\itenu0n\tqb0n\sk\tten0\Ibbl0nl3\qb0{n^m=m}\tqb0l\enotes +% +\barre %86 +\Notes\cl G\sk\ds\relax % \roff{\zq N\itenl1N}\itenl0M\qu M\sk\raise -4\Internote\ds + &\Nextstaff\uptext{G.O.}\itenu2d\zq f\zqu d\raise -8\Internote\ds\ibbl0e0\qb0{cc}\tqb0c\relax + &\zhl k\xTrille q{8\noteskip}\enotes +\notes\dble\zcl G\raise 2\Internote\qs\ibbu0L0\qh0M\zqh0M\raise -4\Internote\ds\tqh0M\relax + &\Nextstaff\tten2\Ibbbu0df3\zcl b\qh0{def}\tqh0e\Ibbbu0fi3\qh0{fgh}\tqh0i\relax + &\dble\sk\sk\sk\multnoteskip{0.3}\tinynotesize\Ibbu0jk1\qh0j\tqh0k\enotes + \setclefs2{6000}\zchangeclefs +% +\barre %87 +\qspace +\Notes\qu C\relax + &\uptext{\bf m.g.}\ibbl1N0\qb1L\qb1N\relax + |\zcharnote b{\bf m.d.}\bracket h{22}\multnoteskip{0.5}\ibbbu0j0\qb0{jkl}\tqh0k\relax + &\ql j\enotes +\notes\dble\sk\qu E\relax + &\qh1c\tqb1N\ibbl1N0\qb1{LNc}\tqb1N\relax + |\dble\isluru0p\qu j\sk\tslur0p\cl p\relax + &\dble\sk\soupir\enotes +% +\barre %88 +\Notes\qu F\relax + &\ibbl1N0\qb1M\qb1a\relax + |\multnoteskip{0.5}\advance\transpose7\ibbbl0h0\qh0{hij}\tqb0i\relax + &\enotes +\notes\dble\sk\qu{^J}\relax + &\qh1c\tqb1N\ibbl1L0\qb1{^JLa}\tqb1L\relax + |\dble\advance\transpose 7\isluru0h\ql h\sk\tslur0g\cl g\relax + &\dble\sk\pause\enotes +% +\barre %89 +\Notes\qu K\relax + &\ibbu1a0\qh1K\qh1a\relax + |\multnoteskip{0.5}\advance\transpose7\ibbbl0h0\qh0{fgh}\tqb0g\relax + &\enotes +\notes\dble\sk\Ibu0IJ1\qh0I\tqh0J\relax + &\qh1d\tqh1{_a}\ibbu1N0\qh1{NdN}\tqh1c\relax + |\dble\advance\transpose 7\isluru0f\ql f\sk\tslur0e\cl e\relax + &\dble\sk\pause\enotes +% +\barre %90 +\Notes\qup F\relax + &\multnoteskip{0.5}\ibbbu0M0\qh0{MNa}\tqh0N\relax + |\multnoteskip{0.5}\advance\transpose7\ibbbl0g0\qh0{def}\tqb0e\relax + &\enotes +\notes\dble\sk\sk\cu{^F}\relax + &\ibbl0N0\qb0M\tqb0c\ibbl0N0\qb0{Mc^M}\tqb0c\relax + |\dble\zq h\isluru0k\ql k\sk\zq h\tslur0l\cl{_l}\relax + &\sk\sk\pause\enotes +% +\barre %91 +\notes\dble\ibu0G0\qh0{G_HG}\tqh0{^F}\relax + &\ibbu0N0\qh0{Nc_a}\tqh0c\ibbu0N0\qh0{Nc^M}\tqh0c\relax + |\dble\ibl0k0\zq j\upz l\qb0{=l}\zq j\upz m\qh0m\zq j\upz l\qh0l\lsh k\lq j\upz k\tqb0{k}\relax + &\dble\dble\sk\pause\enotes +% +\barre %92 +\notes\dble\pointdurgue F\qu G\sk\soupir + &\dble\pointdorgue b\qu N\sk\soupir + |\dble\pointdorgue o\zq{gj}\qu{=l}\sk\soupir + &\Ibl0lj3\pointdorgue o\qbp0n\Uptext{\it cadenza ad lib.}\sk\sk\tbbl0\tqb0j\xTrille n{3\noteskip}\ibl0j0\qbp0k\sk\sk\multnoteskip{0.7}\nbbbl0\qb0j\tqb0k\enotes +% +\barre %93 +\NOtes\qu J\qu G\relax + &\zmidtwotext{G.O.}\ql N\ql N|\zq e\zq j\qu c\zq f\zq i\qu d\relax + &\uptext{\vbox{\hbox{R\'ecit}\hbox{non acc.}}}\ql j\soupir\enotes +% +\barre %94 +\NOtes + \ibl0K0\upz J\qb0J\upz N\qb0N\relax + &\Ibu1Lc2\lpz J\qh1J\lpz N\qh1N\relax + |\Ibu2jl2\zq{ce}\qb2j\Pince n\multnoteskip{0.6}\zq g\qb2k\relax + {\multnoteskip{0.4}\tinynotesize\Ibbu3jk1\qh3j\tqh3k}\relax + &\soupir\enotes +\NOtes + \upz J\tqb0J\relax + &\tqh1c\relax + |\zq g\tqh2l&\ds\enotes +\notes\ds&\ds&\Ibbl0lm2\qbp0l\turn o\sk\tbbbl0\tqb0m\enotes +% +\def\atnextline{\ThreeStaff}% +\barre %95 + %\check +\notes\dble\cu J\ds\cu G\ds + &\Nextstaff\zhl N\ibbu0e0\qh0c\zq c\qh0e\zq e\qh0g\zq e\tqh0c\zq e\ibbu0e0\qh0g\zq +c\qh0e\zq d\qh0f\zq b\tqh0d\relax + &\Ibbl0nl1\qb0n\tqb0l\dble\isluru0j\ql j\sk\tslur0k\cl k\enotes +% +\barre %96 + %\check +\Notes\hu J\relax + &\Nextstaff\qs\Ibbu2dg2\zq b\qh2{^d}\zq c\qh2e\relax + &\Ibl3kl3\qb3{^k}\sk\nbbl3\qb3l\enotes + %\check +\Notes\sk + &\Nextstaff\zq e\tqh2g\relax + &\multnoteskip{0.6}\raise2\Interligne\hs\tbbbl3\tqb3l\enotes + %\check +\Notes\Ibl0aM2\qb0a\sk\tqb0M\relax + &\Nextstaff\Ibbu0gc3\roff{\tbbu0}\zq f\qh0h\zq{=d}\qh0f\sk\tbbu0\zq{=b}\tqh0d\relax + &\pince o\multnoteskip{0.5}\ibbbl0n0\qb0{mlm}\tqb0n\relax + \pince q\ibbbl0p0\qb0{ono}\tqb0p\enotes +% +\barre %97 + %\check +\notes\Ibl1LI{10}\qb1L\relax + &\Nextstaff\zq c\ibu2f0\qh2g\relax + &\Ibbl3on2\qbp3q\sk\tbbbl3\tqb3n\enotes +\notes\qb1M\relax + &\Nextstaff\nbbbu2\qh2{gfe}\tqh2d\relax + &\Ibbbl3pm3\isluru4p\qb3{pon}\tqb3m\enotes + %\check +\NOtes\qb1N\tqb1G\relax + &\Nextstaff\cu c\zq{df}\cu i\relax + &\Ibl0lk1\qb0l\tslur4k\tqb0k\enotes + %\check +% +\barre %98 +\NOTes\qu J\multnoteskip{0.7}\cu C\ds + &\Nextstaff\isluru0i\zq d\zq f\qu i\tslur0j\multnoteskip{0.7}\zq c\zq e\cu j\ds + &\Pince n\isluru0k\ql k\tslur0j\multnoteskip{0.7}\cl j\ds\enotes +% +\linegoal20 +\finmorceau + +\rightline{\today} +\eject + +\bye diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/musixdbrexample.tex b/Master/texmf-dist/doc/generic/musixtex/examples/musixdbrexample.tex new file mode 100644 index 00000000000..94bd968e569 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/musixdbrexample.tex @@ -0,0 +1,52 @@ +\input musixtex +\input musixdbr + +\instrumentnumber4 \setstaffs23 \setstaffs32 \setlines14 +\setsize2\tinyvalue +\indivbarrules + +\startpiece + % normal barlines + \bar + % separate instrument 2 from 1 + \sepbarrule2\bar + % barlines on staves + \allbarrules\sepbarrule + \allbarrules\sepmultibarrule + \allbarrules\showbarrule + \bar + % barlines between staves + \allbarrules\conbarrule + \allbarrules\conmultibarrule + \allbarrules\hidebarrule + \bar + % dashed barlines on staves + \allbarrules\sepbarrule + \allbarrules\sepmultibarrule + \allbarrules\showdashbarrule + \bar + % dashed barlines between staves + \allbarrules\condashbarrule + \allbarrules\condashmultibarrule + \allbarrules\hidebarrule + \bar + % dotted barlines on staves + \allbarrules\sepbarrule + \allbarrules\sepmultibarrule + \allbarrules\showdotbarrule + \bar + % dotted barlines between staves + \allbarrules\condotbarrule + \allbarrules\condotmultibarrule + \allbarrules\hidebarrule + \bar + % a wild mixture of all + \showdotbarrule1\hidebarrule2\showdashbarrule3\showbarrule4% + \condashbarrule2\conbarrule3\condotbarrule4% + \condashmultibarrule2\sepmultibarrule3% + \bar + % conventional ending + \allbarrules\showbarrule + \allbarrules\conbarrule + \allbarrules\conmultibarrule +\Endpiece \bye diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/onuitbri.tex b/Master/texmf-dist/doc/generic/musixtex/examples/onuitbri.tex index 28add2aca77..55bc22b61c1 100644 --- a/Master/texmf-dist/doc/generic/musixtex/examples/onuitbri.tex +++ b/Master/texmf-dist/doc/generic/musixtex/examples/onuitbri.tex @@ -1,18 +1,25 @@ +\ifx\mxversion\undefined + \input musixtex + \input musixcpt + \input musixsty +\fi -\resetfacteurs\advance\staffbotmarg by 2\Interligne +\advance\staffbotmarg by 2\Interligne \barsinline=0\relax\linesinpage=0\relax \def\Transpose{0}% \def\Signature{3}\relax % trois diezes a la clef \input onuitbrx -\resetfacteurs\advance\staffbotmarg by 2\Interligne \barsinline=0\relax\linesinpage=0\relax \def\Transpose{1}\relax \def\Signature{-2}\relax % deux diezes a la clef \input onuitbrx -\resetfacteurs\advance\staffbotmarg by 2\Interligne \barsinline=0\relax\linesinpage=0\relax \def\Transpose{2}\relax \def\Signature{0}\relax % un bemol a la clef \input onuitbrx +\barsinline=0\relax\linesinpage=0\relax +\def\Transpose{-1}\relax +\def\Signature{1}\relax % un bemol a la clef +\input onuitbrx \bye diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/onuitbrx.tex b/Master/texmf-dist/doc/generic/musixtex/examples/onuitbrx.tex index eb3f97b0b89..b18ba5f25e9 100644 --- a/Master/texmf-dist/doc/generic/musixtex/examples/onuitbrx.tex +++ b/Master/texmf-dist/doc/generic/musixtex/examples/onuitbrx.tex @@ -1,6 +1,6 @@ \fulltitle{\^O nuit brillante} \shorttitle{\^O nuit brillante} - \fullauthor{No‰l ancien\\Musique A. Sala\\Texte J. Bovet\\Transposition + \fullauthor{No\"el ancien\\Musique A. Sala\\Texte J. Bovet\\Transposition Daniel Taupin} \othermention{Paroisse de Gif-sur-Yvette\\Transposition \`a usage priv\'e} @@ -26,8 +26,8 @@ priv\'e} \global\nbporteesii=1\relax \global\cleftoksi={{6}{0}{0}{0}}% \global\cleftoksii={{0}{0}{0}{0}}% -\def\lowersonginstrum{1} % to be used to make heavy bars at staff left -\def\uppersonginstrum{2} % to be used to make heavy bars at staff left +\songbottom{1} % to be used to make heavy bars at staff left +\songtop{2} % to be used to make heavy bars at staff left % \signaturegenerale{\Signature}% \generalmeter{\meterfrac68} @@ -61,7 +61,7 @@ priv\'e} % \znotes\zcharnote {-3}{\ppff p}&\zcharnote{10}{\ppff p}\enotes \qspace -\NOtes\zqlp M\qup a&\hsong{â}\zqlp c\qup f\enotes +\NOtes\zqlp M\qup a&\hsong{\^O}\zqlp c\qup f\enotes \notes\zql L\qu b\sk&\zsong{nuit }\zql e\Ibu0gf1\qh0g\tqh0f\enotes \notes\zcl L\cu b&\hsong{bri-}\zcl e\cu g\enotes % @@ -86,8 +86,8 @@ priv\'e} \barre \Notes\zql M\qu a&\hsong{Ta }\zql c\qu f\enotes \notes\zcl M\cu b&\Soufflcr q\hsong{lu-}\zcl e\cu g\enotes - \hardlyrics{\kern -4pt miŠre }\notes\zcl M\cu c&\hsong\thelyrics\zcl f\cu h\enotes - \notes\zcl M\cu d&\hsong{‚-}\zcl g\cu i\enotes + \hardlyrics{\kern -4pt mi\`ere }\notes\zcl M\cu c&\hsong\thelyrics\zcl f\cu h\enotes + \notes\zcl M\cu d&\hsong{\'e-}\zcl g\cu i\enotes \notes\zcl M\cu e&\hsong{cla-}\zcl h\cu j\enotes % \barre @@ -145,7 +145,7 @@ j\enotes j\enotes \hardlyrics{\txt se |d'hum-&}\notes\zql L\qu e&\hsong\thelyrics\zql g\qu i\enotes - \notes\zcl L\cu d&\hsong{\txt r‚-|bles &}\zcl g\cu j\enotes + \notes\zcl L\cu d&\hsong{\txt r\'e-|bles &}\zcl g\cu j\enotes % \barre \Notes\zqlp M\qup c&\hsong{\txt veil-|voi-&}\zqlp f\isluru2i\qu i\enotes @@ -156,7 +156,7 @@ i\enotes \barre \Notes\zcharnote {-3}{\ppff p}\zql M\qu a&\zcharnote{10}{\ppff p}\hsong{\txt Paix |Vient &}\zql c\qu h\enotes - \notes\zcl M\cu a&\Soufflcr q\hsong{\txt sur |… &}\zcl c\cu h\enotes + \notes\zcl M\cu a&\Soufflcr q\hsong{\txt sur |\`a &}\zcl c\cu h\enotes \notes\roff{\itenl0M\zqlp M}\cu N&\hsong{\kern -4pt\txt terre |nous &}\zcl d\cu i\enotes \notes\cu a&\hsong{\txt en |cet-&}\zcl d\cu h\enotes \notes\cu b&\hsong{\txt tous |te &}\zcl d\cu g\enotes diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/ossiaexa.tex b/Master/texmf-dist/doc/generic/musixtex/examples/ossiaexa.tex new file mode 100644 index 00000000000..4a5da5b12b5 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/ossiaexa.tex @@ -0,0 +1,30 @@ +\input musixtex +\startmuflex +\hsize70mm +\def\xnum#1#2#3{\off{#1\elemskip}\zcharnote{#2}{\smalltype\it #3}% +\off{-#1\elemskip}}% +\newbox\ornamentbox +\setbox\ornamentbox=\hbox to 0pt{\kern-4pt\vbox{\hsize=2.6cm% +\nostartrule\smallmusicsize\setsize1{\smallvalue}\setclefsymbol1\empty% +\startpiece\addspace{2pt}% +\notes\ibbbl2{'c}0\qb2b\qb2c\qb2d\tbbbl2\qb2c\en% +\notes\xnum{1.15}{'e}3\qb2d\qb2c\tbl2\qb2d\en% +\notes\ibl2{'c}1\usf e\qb2c\en% +\notes\tbl2\qb2{'d}\en% +\zstoppiece% +}\hss} +\normalmusicsize\nopagenumbers +\def\nbinstruments{1}% +\setstaffs12\setclef1{60}% +\generalsignature{-2}\generalmeter{\meterfrac{3}{4}}% +\parindent 0pt% +\stafftopmarg0pt\staffbotmarg5\Interligne\interstaff{10}\relax +\startpiece\addspace\afterruleskip% +\notes\ibl1{'G}{-1}\qb1G\sk\bigna F\tbl1\qb1F|% +\ibbl2{'b}0\qb2b\qb2a\qb2b\tbl2\qb2c\en% +\notes\hl{'E}\bsk\raise6\internote\ds\ibu3{G}1\bigsh F% +\qb3F\qb3G\tbu3\qb3{'A}|\zcharnote{10}{\copy\ornamentbox}\qlp{'c}\sk\sk% +\cl d\en% +\endpiece +\vfill\eject\endmuflex +\bye diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/pacifiqb.tex b/Master/texmf-dist/doc/generic/musixtex/examples/pacifiqb.tex new file mode 100644 index 00000000000..c40994059ba --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/pacifiqb.tex @@ -0,0 +1,9 @@ +\ifx\mxversion\undefined + \input musixtex + \input musixcpt + \input musixsty +\fi +\musicsize=16\relax +\def\NoPageCut{\relax} +\input c:/taupin/musixtex/scores/pacifiqn +\bye diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/pacifiqc.tex b/Master/texmf-dist/doc/generic/musixtex/examples/pacifiqc.tex deleted file mode 100644 index 7354d7b7e8a..00000000000 --- a/Master/texmf-dist/doc/generic/musixtex/examples/pacifiqc.tex +++ /dev/null @@ -1,1063 +0,0 @@ -\ifx\mxversion\undefined - \input musixtex - \input musixcpt - \input musixsty -\fi -% -\parindent 12mm -% -\title{Pacifique} -\shortauthor{D. Taupin} -\fullauthor{Daniel TAUPIN\\\`a Christiane} - \othermention{Compos\'e en 1972, \sl San Jose (Calif.)\\r\'ev. mai 1981, -janvier 1990} -\maketitle - -\musicsize=16\relax -\def\lppage{7}% - -\tracingstats=2\relax -% -\nbporteesi=2\relax -\def\nbinstruments{1} -\global\cleftoksi={{6}{0}{0}{0}}% -% -\generalsignature{-4}\relax % quatre bemols a la clef -\def\quatretemps{\generalmeter{\meterfrac{4}{4}}}% -\def\troistemps{\generalmeter{\meterfrac{3}{4}}}% -%\check -\def\instrumenti{Piano} -%\check -\generalmeter{\allabreve} -\def\fff{{f}\kern -1pt{f}\kern -1pt{f}}% -\def\gluemaxskip{6pt}% -% -% formes frequentes -% -%au moins deux croches basses et hautes -\def\dqb#1#2#3{\ibl0{#2}{#1}\qb0{#2}\tbl0\qb0{#3}}% -\def\dqh#1#2#3{\ibu0{#2}{#1}\qh0{#2}\tbu0\qh0{#3}}% -%au moins quatre croches basses et hautes -\def\qqb#1#2#3#4#5{\ibl0{#2}{#1}\qb0{#2#3#4}\tbl0\qb0{#5}}% -\def\qqB#1#2#3#4#5{\ibl0{#3}{#1}\qb0{#2#3#4}\tbl0\qb0{#5}}% -\def\qqh#1#2#3#4#5{\ibu0{#2}{#1}\qh0{#2#3#4}\tbu0\qh0{#5}}% -\def\qqH#1#2#3#4#5{\ibu0{#3}{#1}\qh0{#2#3#4}\tbu0\qh0{#5}}% -% octave basse en blanche -\def\bohl#1{{\advance\transpose by-7\relax\zh{#1}\relax}\hl{#1}}% -\def\bohu#1{{\advance\transpose by-7\relax\zh{#1}\relax}\hu{#1}}% -\def\sohl#1{\zh{#1}{\advance\transpose by 7\relax\hl{#1}}\sk}% -\def\sohu#1{\zh{#1}{\advance\transpose by 7\relax\hu{#1}}\sk}% -% -% octave sup. en croches u -\def\soqh#1{\zq{#1}\rlap{\advance\transpose by 7\qh0{#1}}\sk}% -\def\soqu#1{\zq{#1}\rlap{\advance\transpose by 7\qu{#1}}\sk}% -\def\soqb#1{\zq{#1}\rlap{\advance\transpose by 7\qb0{#1}}\sk}% -\def\soql#1{\zq{#1}\rlap{\advance\transpose by 7\ql{#1}}\sk}% -\def\dsoqh#1#2#3{{\advance\transpose by 7\ibu0{#2}{#1}}\soqh{#2}\tbu0\soqh{#3}}% -\def\dsoqb#1#2#3{\ibl0{#2}{#1}\soqb{#2}\tbl0\soqb{#3}}% -%\check -\def\qsoqh#1#2#3#4#5{{\advance\transpose by 7\relax\ibu0{#2}{#1}}\soqh{#2}\relax - \soqh{#3}\soqh{#4}\tbu0\soqh{#5}}% -\def\qsoqb#1#2#3#4#5{\ibl0{#2}{#1}\soqb{#2}\soqb{#3}\soqb{#4}\tbl0\soqb{#5}}% -%\check -\def\qsoqB#1#2#3#4#5{\ibl0{#3}{#1}\soqb{#2}\soqb{#3}\soqb{#4}\tbl0\soqb{#5}}% -%\check -% octave inf. en croches u -\def\boqh#1{{\advance\transpose by -7\relax\zq{#1}}\qh0{#1}}% -\def\boqb#1{{\advance\transpose by -7\relax\zq{#1}}\qb0{#1}}% -\def\dboqh#1#2#3{\ibu0{#2}{#1}\boqh{#2}\tbu0\boqh{#3}}% -\def\dboqb#1#2#3{{\advance\transpose by -7\relax\ibl0{#2}{#1}}\boqb{#2}\tbl0\boqb{#3}}% -%\check -\def\qboqb#1#2#3#4#5{{\advance\transpose by -7\relax\ibl0{#2}{#1}}\boqb{#2}\relax - \boqb{#3}\boqb{#4}\tbl0\boqb{#5}}% -\def\qboqh#1#2#3#4#5{\ibu0{#2}{#1}\boqh{#2}\boqh{#3}\boqh{#4}\tbu0\boqh{#5}}% -%\check -% -\def\arpg#1#2{\znotes\arpeggio{#1}{#2}\enotes} -\def\Arpg#1#2{\znotes\larpeggio{#1}{#2}\enotes} -\def\uarpg#1#2{\znotes\nextstaff\arpeggio{#1}{#2}\enotes} -\def\uArpg#1#2{\znotes\nextstaff\larpeggio{#1}{#2}\enotes} -% -% soufflets crescendo -% -\def\soufflcr{\zmidtwotext{\kern -1cm\raise 5pt\hbox{\Cresc}}} -\def\Soufflcr{\zmidtwotext{\kern -1cm\raise 5pt\hbox{\CREsc}}} -% -\def\interfacteur{11}% -\computewidths -\staffbotmarg=5\Interligne -% -\debutmorceau\autolines 95\lppage -% -\advance\linesinpage by 1\relax -% -\hyphenpenalty -50\relax -\notes|\Uptext{\moyen\kern -20pt Andante \rm(\metron{\qu}{90})}\enotes -\vnotes 0.2\elemskip\uptext{\kern -5mm\ppff p}|\uptext{\ppff mp}\enotes -\zglu\Notes\PED\zh{Ma}\hl c|\soupir\enotes -\zglu\notes\sk\DEP|\Ilegl0d\dqh3fg\enotes -\temps\notes\PED\zh{Ma}\hl c\sk\sk\DEP|\qqh0hfgh\enotes -% mesure 2 -\barre\notes\PED\zh{Mb}\hl d\sl\sk\DEP|\qqh0ighi\enotes -\temps\notes\PED\zh{Ma}\hl c\sk\sk\DEP|\qqh0jhij\enotes -% mesure 3 -\barre\notes\PED\zh{Mb}\hl d\sk\zcharnote{-5}{\it simile}|\Tleg0\qu k\sk\Ilegl0d\dqh4ik\enotes -\temps\notes\zh{Ma}\hl c|\qqh0jihj\enotes -% mesure 4 -\barre\notes\zh{Mb}\lh N\hl d|\qqh0ihgi\enotes -\temps\notes\zh{Ma}\hl c|\qqh0hgfh\enotes -% mesure 5 -\barre\notes\zh{Mb}\lh N\hl d|\qqh0gf{=e}g\enotes -\temps\notes\zh{Ma}\hl c|\Tleg0\qu f\sk\enotes -\temps\notes|\raise -\internote\rlap{\Uptext{\kern -15mm\it sempre -\ppff mp}}\Ilegl0d\dqh3gh\enotes -% mesure 6 -\barre\notes\zh{LN}\hl b|\qqh0ighi\enotes -\temps\notes\zh{ac}\hl e|\qqh0jhij\enotes -% mesure 7 -\barre\notes\zh{N=b}\hl d|\qqh0{=k}{=i}jk\enotes -\temps\notes\zh{Nc}\hl{=e}|\qqh0{=l}jkl\enotes -% mesure 8 -\barre\notes\zh{Mc}\hl f|\qqh{-3}m{_l}{_k}j\enotes -\temps\notes\zh{M_b}\hl d|\qqh0k{_i}jk\enotes -% mesure 9 -\barre\notes\zh{LN}\hl b|\qqh{-3}lkji\enotes -\temps\notes\zh{ac}\hl e|\qqh0jhij\enotes -% mesure 10 -\barre\notes\zh{ad}\hl f|\qqh{-3}kjih\enotes -\temps\notes\lh b\zh c\hl{=e}|\qqh0ighi\enotes -% mesure 11 -\barre\notes\zh{Nb}\hl{=e}|\qqh{-3}jihg\enotes -\temps\notes\zh{Ma}\hl c|\Tleg0\qu h\sk\enotes -\temps\notes|\Ilegl0d\dqh3gh\enotes -% mesure 12 -\barre\notes\zh{Mb}\hl d|\qqh0ihgi\enotes -\temps\notes\zh{Ma}\hl c|\qqh0hgfh\enotes -% mesure 13 -\barre\notes\zh{Mb}\lh N\hl d|\qqh0gf{=e}g\enotes -\temps\notes\zh{Ma}\hl c|\Tleg0\qu f\sk\enotes -\temps\notes\rmidtwotext{\kern -3mm\it un poco}|\Ilegu0r\dqh3gh\enotes -% mesure 14 -\barre\notes\bohl e\rmidtwotext{\it pi\`u forte}\relax - |\zq g\qqh0ighi\enotes -\temps\notes\bohl a|\rlap{\hl e}\zq h\qqh0jhij\enotes -% mesure 15 -\barre\notes\bohu M|\rlap{\hl f}\zq h\qqh0kijk\enotes -\temps\notes\bohu L|\rlap{\hl g}\zq i\qqh{-3}lkji\enotes -% mesure 16 -\barre\notes\bohu a|\rlap{\hl e}\zq h\qqh0jijk\enotes -\temps\notes\bohu L|\rlap{\hl g}\zq i\qqh{-3}lkji\enotes -% mesure 17 -\barre\Notes\bohu M|\zq f\tleg0\qu h\enotes -\temps\notes|\Ilegu0q\dqh3ij\enotes -\temps\notes\bohu K|\rlap{\hl f}\zq h\qqh{-3}kjih\enotes -% mesure 18 -\barre\notes\bohu J|\rlap{\hl c}\zq{=e}\qqh3ghik\enotes -\temps\notes\bohu{=L}|\rlap{\hl e}\zq g\qqh{-3}jihg\enotes -% mesure 19 -\barre\Notes\bohu M|\rlap{\ql f}\zq f\tleg0\qu h\enotes -\temps\notes|\Ilegu0p\dqh3gh\enotes -\temps\notes\bohu K|\rlap{\hl d}\zq f\qqh0ihgi\enotes -% mesure 20 -\barre\notes\bohu J|\rlap{\hl c}\zq f\qqh0hgfh\enotes -\temps\notes\bohu J|\rlap{\hl c}\zq{=e}\qqh0gfeg\enotes -% mesure 21 -\barre\Notes\zq F\ql M|\zq{ac}\tleg0\qu f\enotes -\notes\rlap{\zcharnote{-5}{\ppff mf}}\Ilegu0d\dqb3MN\relax - |\soupir\uptext{\ppff p}\enotes -\temps\notes\qqB0aMNa|\zh{fh}\hu j\enotes -% mesure 22 -\barre\notes\qqB0bNab|\zh{gi}\hu{=l}\enotes -\temps\notes\qqB0cabc|\zh{hj}\hu m\enotes -% mesure 23 -\barre\notes\Tleg0\ql d\sk|\zh{hk}\hu m\enotes -\temps\notes\Ilegu0d\dqb4bd|\enotes -\temps\notes\qqB0cbac|\zh{hj}\hu{_l}\enotes -% mesure 24 -\barre\notes\qqB0baNb|\zh i\rh j\hu{=l}\enotes -\temps\notes\qqB0aNMa|\zh{hj}\hu m\enotes -% mesure 25 -\barre\notes\qqB0NM{=L}N|\zh{gj=l}\hl n\enotes -\temps\notes\Tleg0\ql M\zmidtwotext{\it crescendo}\sk|\zh{hjm}\hl o\enotes -\temps\notes\Ilegl0F\dqb3Na|\enotes -% mesure 26 -\barre\notes\zmidtwotext{\it\ poco\ \ a\ \ poco}\qqB0bNab\relax - |\zh{gi_l}\hu n\enotes -\temps\notes\qqB0cabc|\zh{fhj}\hu m\enotes -% mesure 27 -\barre\notes\qqB0{=d}bcd|\zh{fi=k}\hu m\enotes -\temps\notes\qqB0{=e}cde|\zh{gj}\rh i\hu{=l}\enotes -%\check -% mesure 28 -\barre\notes\qqb{-3}f{_e}{_d}c|\zh{f=hj}\hu m\enotes -\temps\notes\qqb{1}bcde|\zh{gil}\hu n\enotes -% mesure 29 -\barre\notes\qqb0cbcd|\zh{_hjm}\hl o\enotes -\temps\notes\qqb0cbab|\zh{fhj}\hl m\enotes -% mesure 30 -\barre\notes\qqb{-3}cbaN|\zh{gj=l}\hl n\enotes -\temps\notes\qqb3MNac|\zh{hjm}\hl o\enotes -%\check -% mesure 31 -\barre\notes\qqb{-3}baNM|\zh{i_ln}\hl p\enotes -\temps\notes\qqb3LMNb|\zh{gil}\hu n\enotes -%\check -%mesure 32 -\barre\notes\Tleg0\ql a\sk|\zh{hjl}\hl o\enotes -\temps\notes\Ilegl0F\dqb3bc|\enotes -\temps\notes\qqb0dcde|\zh{iln}\hl p\enotes -% -% mesure 33 -% changement d'espacement -\barre\nspace\notes\qqb{-3}cbaN|\zh{j=ln}\hl q\enotes -\temps\notes\Tleg0\ql a\sk|\zh{hjm}\hl o\enotes -\temps\notes\Ilegl0F\dqb3bc|\enotes -% mesure 34 -\barre\notes\qqb{-3}dcba|\zh{ikm}\hl p\enotes -\temps\notes\qqb3Nabc|\zh{j=ln}\hl q\enotes -% mesure 35 -\barre\notes\qqb0dcde|\zh{kmp}\hl r\enotes -\temps\notes\soufflcr\qqb{-3}cbaN|\zh{=lnq}\hl{=s}\enotes -% mesure 36 -\barre\nspace\notes\zmidtwotext{\ppff f}\tleg0\ql M|\zq{m_oq}\ql t\zbreath\enotes -\notes\zmidtwotext{\ppff mf}\soupir|\Ilegu0s\dsoqb3fg\enotes -\temps\arpg K5\relax -\notes \zh{Mac}\hl f\uptext{\vbox{\offinterlineskip\hbox{\it arpeggi}\vskip 1mm\hbox{\it nervosi}}}\relax - |\qsoqb0hfgh\enotes -%\check -% mesure 37 -\barre\arpg K5\notes\zh{Mbd}\hl f|\qsoqb0ighi\enotes -\temps\arpg K5\notes\zh{Mac}\hl f|\qsoqb0jhij\enotes -%\check -% mesure 38 -\barre\arpg K5\notes\zh{Mbd}\hl f|\qsoqb0kjik\enotes -\temps\arpg K5\notes\zh{Mac}\hl f|\qsoqb0jihj\enotes -%\check -% mesure 39 -\barre\Arpg J5\notes\zh{=LNc}\lh b\hl{=e}|\qsoqb0ihgi\enotes -\temps\arpg K5\notes\zh{Mac}\hl f|\qsoqb0hgfh\enotes -%\check -% mesure 40 -\barre\Arpg J5\notes\zh{JNc}\lh b\hl{=e}|\qsoqb0gf{=e}g\enotes -\temps\arpg F6\notes\zq{FJMa}\ql c|\Tleg0\zq f\ql m\sk\enotes -\notes\soupir|\Ilegu0t\dsoqb3gh\enotes -%\check -% mesure 41 -\barre\Arpg L5\notes\zh{Lb_e}\hl g|\qsoqb0ighi\enotes -\temps\arpg a4\notes\zh{ace}\hl h|\qsoqb0jhij\enotes -%check -% mesure 42 -\barre\Arpg K5\notes\zh{Mb=d}\hl f|\qsoqb0{=k}ijk\enotes -\temps\Arpg J5\notes\zh{JNc}\hl{=e}|\qsoqb0{=l}jkl\enotes -%check -% mesure 43 -\barre\Arpg K5\notes\zh{Mcf}\hl{=h}|\qsoqb{-3}m{_l}{_k}j\enotes -\temps\Arpg I5\notes\zh{IMb}\hl{_d}\sk|\Tleg0\zq i\ql p\enotes -\temps\notes|\Ilegu0t\dsoqb3jk\enotes -%\check -% mesure 44 -\barre\Arpg L5\notes\zh{Lb_e}\hl g|\qsoqb{-3}lkji\enotes -\temps\arpg K5\notes\zh{Mac}\hl f\sk|\Tleg0\zq h\ql o\enotes -\temps\notes|\Ilegu0r\dsoqb3gh\enotes -%\check -% mesure 45 -\barre\arpg I5\notes\zh{IMb}\hl d|\qsoqb0ihgi\enotes -\temps\arpg H5\notes\zh{JMa}\hl c|\qsoqb0hgfh\enotes -%check -% mesure 46 -\def\sfql#1{\usf{#1}\ql{#1}}% -\barre\Arpg J5\notes\soufflcr\zh{JNc}\hl{=e}|\qsoqb0gf{=e}g\enotes -\temps\arpg E5\notes\zq{FJM}\sfql a\sk|\Tleg0\zq f\sfql m\enotes -\temps\notes\zmidtwotext{\ppff f}\dsoqb{-3}F{=E}|\Ilegu0s\dsoqb3fg\enotes -%\check -% mesure 47 -\barre\notes\zq F\ql M\sk\dsoqb3{_E}F|\zq{jm}\qsoqb0hfgh\enotes -\temps\notes\qsoqb0GEFG|\zq{_ln}\qsoqb0ighi\enotes -%\check -% mesure 48 -\barre\notes\zq H\ql a\sk\dsoqb{-3}FE|\zq{lo}\qsoqb0jhij\enotes -\temps\notes\zq D\ql K\sk\dsoqb3EF|\zq{mp}\qsoqb0kijk\enotes -%\check -% mesure 49 -\barre\notes\zq G\ql N\sk\zq E\ql L|\zq{np}\qsoqb{-3}lkji\enotes -\temps\notes\qsoqb0HGHI|\zq{mo}\qsoqb0jijk\enotes -%\check -% mesure 50 -\barre\notes\zq J\ql c\sk\zq J\ql c|\zq{=ln}\qsoqb{-3}jihg\enotes -\temps\notes\qboqb{-3}fe{=d}{_d}|\zq{jm}\qsoqb0hghi\enotes -%\check -% mesure 51 -\barre\notes\zq J\ql c\sk\zq J\ql c|\zq{jm}\qsoqb{-3}hgf{=e}\enotes -\temps\arpg F5\notes\zq{FJM}\ql a\sk|\Tleg0\zq{fhj}\ql m\enotes -\temps\notes\Ilegl0F\zmidtwotext{\it meno}\dqb3MN|\soupir\enotes -%\check -% mesure 52 -\barre\nspace\uarpg h4\notes\zmidtwotext{\it\ \ forte}\qqb0aNab|\zh{hjm}\hl o\enotes -\temps\uArpg h5\notes\qqb0cbcd|\zh{j_lo}\hl q\enotes -%\check -% mesure 53 -\barre\nspace\uarpg l4\notes\qqb0edef|\zh{lnp}\hl s\enotes -\temps\uarpg l4\notes\qqb{-3}edcb|\zh{lnp}\hl s\enotes -%\check -% mesure 54 -\barre\nspace\uarpg h5\notes\tleg0\ql a\sk|\zh{jlo}\hl q\enotes -\notes\dsoqb3J{=K}|\enotes -\temps\uArpg h5\notes\qsoqb0{=L}KLM|\zh{j=ln}\hl q\enotes -% mesure 55 -\barre\nspace\uArpg h5\notes\qboqb0gfg{=h}|\zh{j=ln}\hl q\enotes -\temps\uArpg i4\notes\qboqb{-3}gf{=e}d|\zh{=ikn}\hl{=p}\enotes -%\check -%mesure 56 -\barre\nspace\uArpg h5\notes\zq J\ql c\sk\dboqb3{=d}{=e}|\zh{j=ln}\hl q\enotes -\temps\notes\zcharnote j{\kern -2\noteskip\it senza arpeggiare}\relax -\qboqb{-3}f{_e}{_d}c|\zq{m=oq}\ql t\sk\zq{moq}\ql t\enotes -%\check -% mesure 57 -\barre\notes\zmidtwotext{\ppff f}\zq I\ql b\sk|\zh{ikm}\hl p\enotes -\temps\notes\dsoqb3JK|\enotes -\temps\notes\Soufflcr\qsoqb{-3}LKJI|\zq{_lnp}\ql s\sk\zq{lnp}\ql s\enotes -%\check -% mesure 58 -\barre\notes\zq H\ql a\sk|\zh{hjl}\hl o\enotes -\temps\notes\dsoqb3IJ|\enotes -\temps\notes\qsoqb0KJIK|\zq{ikm}\ql p\sk\zq{ikm}\ql p\enotes -%\check -% mesure 59 -\barre\notes\qsoqb0JIHJ|\zh{hjm}\hl o\enotes -\temps\notes\qsoqb0IHGI|\zq{i=ln}\ql p\sk\zq{i=ln}\ql p\sk\enotes -%\check -% mesure 60 -\barre\notes\soufflcr\zq H\ql a|\zh{jmo}\hl q\enotes -\temps\notes\dsoqb3GH|\enotes -\temps\notes\rlap{\sk\sk\zmidtwotext{\ppff ff}}\qsoqb0IHGI\relax - |\zq{kmp}\ql r\sk\zq{kmp}\ql r\sk\enotes -% mesure 61 -%\check -\barre\notes\qsoqb0HGFH|\zq{jmo}\ql q\sk\zq{jmo}\ql q\sk\enotes -\temps\notes\qsoqb0GF{=E}G|\zq{j=ln}\ql q\sk\zq{jln}\ql q\sk\enotes -%\check -%mesure 62 -\barre\arpg F6\notes\zmidtwotext{\ppff \fff}\zq{FJMa}\ql c\relax - |\zq{moq}\ql t\zbreath\enotes -\temps\notes\zmidtwotext{\ppff mp \it subito}\soupir|\Ilegu0r\dqh3fg\enotes -\temps\arpg H5\notes\zh{JMa}\hl c|\qqh0hfgh\enotes -%\check -% mesure 63 -\barre\arpg I4\notes\zh{IKM}\hl b|\qqh0ighi\enotes -\temps\arpg H5\notes\zh{JMa}\hl c|\qqh0jhij\enotes -%\check -% mesure 64 -\barre\arpg I4\notes\zh{IKM}\hl b|\qqh0kjik\enotes -\temps\arpg H5\notes\zh{JMa}\hl c|\qqh0jihj\enotes -%\check -% mesure 65 -% -\barre\Arpg H5\notes\zh{JN}\lh b\hl c|\qqh0ihgi\enotes -\temps\arpg H5\notes\zh{JMa}\hl c|\Tleg0\qu h\sk\enotes -\temps\notes|\Ilegu0q\dqh3gh\enotes -%\check -% mesure 66 -\barre\arpg I5\notes\zh{KMb}\hl d|\qqh0ihgi\enotes -\temps\arpg H5\notes\zh{JMa}\hl c|\qqh0hgfh\enotes -%\check -% mesure 67 -\barre\Arpg H5\notes\zh{J=LN}\hl c|\qqh0gf{=e}g\enotes -\temps\arpg M3\notes\zq{Ma}\ql c|\Tleg0\qu f\enotes -\cleftoksi={{6}{6}{0}{0}}% -\changeclefs\nspace -\notes\soupir|\zcharnote A{\ppff f}\Ilegu0g\dqb3MN\enotes -%\check -% mesure 68 -\def\bozh#1{{\advance\transpose by -7\zh{#1}}\zh{#1}}\relax -\def\bozq#1{{\advance\transpose by -7\zq{#1}}\zq{#1}}\relax -\barre\arpg{!`F}6\notes\uptext{\ppff f \it e nervoso}\bozh F\hu J\relax - |\qqB0aMNa\enotes -\temps\arpg{!`E}6\notes\bozh E\hu I|\qqB0bNab\enotes -% mesure 69 -%\check -\barre\arpg A6\notes\bozh H\hu L|\qqB0cabc\enotes -\temps\arpg B6\notes\bozh I\hu M|\qqB0{=d}bcd\enotes -%\check -% mesure 70 -\barre\Arpg A7\notes\bozh J\hu N|\qqB0{=e}c{=d}e\enotes -\temps\arpg {!`E}8\notes\bozh F\zh{=H}\hu M|\qqb{-3}f{_e}{_d}c\enotes -%\check -% mesure 71 -\barre\arpg B6\notes\bozh I\hu M|\qqb3bcdf\enotes -\temps\arpg A8\notes\bozh E\zh I\hu N|\qqb{-3}edcb\enotes -%\check -% mesure 72 -\barre\arpg A6\notes\bozh H\hu L|\qqb3abce\enotes -\temps\arpg B6\notes\bozh I\hu M|\qqb{-3}dcba\enotes -%\check -% mesure 73 -\barre\arpg B5\notes\bozh J\hu{=L}|\qqb3Nabd\enotes -\temps\arpg B6\notes\bozh J\hu N|\qqb{-3}cbaN\enotes -% -% mesure 74 -\barre\arpg {!`D}6\notes\bozh F\hu J|\Tleg0\ql a\sk\enotes -\temps\notes|\Ilegu0d\dqb3Na\enotes -\temps\arpg B5\notes\bozh I\hu K|\qqB0baNb\enotes -%\check -% mesure 75 -\barre\arpg C5\notes\bozh J\hu M|\qqB0aNMa\enotes -\temps\Arpg C5\notes\bozh J\hu {=L}\zmidtwotext{\ppff mf}|\qqB0NM{=L}N\enotes -%\check -% mesure 76 -\barre\arpg{-8}6\notes\bozq F\zq H\qu J\relax - |\Tleg0\ql M\enotes -\cleftoksi={{6}{0}{0}{0}}% -\changeclefs -\nspace\notes\zmidtwotext{\it pi\`u dolce}\soupir|\Ilegu0r\dboqh3gh\enotes -\temps\arpg D5\notes\bozh L\hu N|\qboqh0ighi\enotes -% mesure 77 -%\check -\barre\arpg A6\notes\bozh H\hu L|\qboqh0jijk\enotes -\temps\arpg E5\notes\bozh L\hu N|\qboqh{-3}lkji\enotes -% mesure 78 -%\check -\barre\arpg F4\notes\zh{FJ}\hu M|\zq a\qu h\sk\enotes -\temps\notes|\dboqh3ij\enotes -\temps\arpg {!`G}7\notes\bozh I\hu M|\qboqh{-3}kjih\enotes -% mesure 79 -\barre\Arpg C5\Notes\bozh J\hu{=L}|\zq N\qu g\enotes -\temps\notes|\dboqh3hi\enotes -\temps\arpg C6\notes\bozh J\hu N|\qboqh{-3}jihg\enotes -%\check -% mesure 80 -\barre\arpg {`F}6\notes\bozh F\hu J|\zq a\qu h\sk\enotes -\temps\notes|\dboqh3gh\enotes -\temps\arpg B5\notes\bozh I\hu K|\qboqh0ihgi\enotes -% mesure 81 -\barre\arpg B6\notes\bozh J\hu M|\qboqh0hgfh\enotes -\temps\Arpg B5\notes\bozh J\hu{=L}|\qboqh0gfeg\enotes -%\check -%mesure 82 -\barre\arpg {!`F}6\notes\bozq F\qu J\zmidtwotext{\ppff f}|\Tleg0\zq{Ma}\qu f\sk\enotes -\temps\notes\dboqh3LM\zmidtwotext{\it sempre}|\dsoqb3gh\enotes -\temps\notes\qboqb0NLMN|\zq{ln}\qsoqh0ighi\enotes -% mesure 83 -\barre\notes\zmidtwotext{\it crescendo}\qboqb0aMNa|\zq{lo}\qsoqb0jhij\enotes -\temps\notes\zmidtwotext{\it\kern 1.5\noteskip e}\qboqb0bNab\relax - |\zq{mp}\qsoqb0kijk\enotes -% \check -% mesure 84 -\barre\notes\zmidtwotext{\it\ \ pi\`u}\qboqb{-3}cbaN|\zq{nq}\qsoqb{-3}lkji\enotes -\temps\notes\zmidtwotext{\it animato}\zh F\hl M|\zq{jm}\qsoqb2hijl\enotes -% \check -% mesure 85 -\def\boql#1{{\advance\transpose by -7\relax\zq{#1}}\ql{#1}}% -\def\boqu#1{{\advance\transpose by -7\relax\zq{#1}}\qu{#1}}% -\barre\notes\boql b\sk\boql b|\zq{mp}\qsoqb{-3}kjih\enotes -\temps\notes\bohu L|\zq{jl}\qsoqb2ghik\enotes -% mesure 86 -\barre\notes\boql a\sk\boql a|\zq{mo}\qsoqb{-3}jihg\enotes -\temps\notes\bohu K|\zq{ik}\qsoqb2fghj\enotes -% mesure 87 -\barre\nspace\notes\boql N\sk\boql N|\zq{=ln}\qsoqh{-3}ihgf\enotes -\temps\notes\bohu J|\zq{gi}\qsoqh2{=e}fgi\enotes -% mesure 88 -\barre\notes\qboqh0M{=L}MN|\zq{jm}\qsoqb0hghi\enotes -\temps\notes\qboqb0aNab|\zq{mo}\qsoqb0jij{=k}\enotes -%\check -% mesure 89 -\barre\notes\zmidtwotext{\ppff \fff}\qboqb0c{=b}c{=d}|\octfin v{18}\zq{gj}\qsoqh0{=e}{=d}ef\enotes -\temps\notes\qboqb0{=e}def|\zq{j=l}\qsoqh0gfgh\enotes -%\check -% mesure 90 -\barre\notes\qboqb{-2}gg{=e}{_d}|\zq{=ln}\qsoqb{-2}iig{=e}\enotes -\temps\notes\qboqb{-2}cbN{=L}|\qsoqh{-2}{_d}dbN\enotes -% mesure 91 -%\check -\advance\elemskip by -1pt -\barre\notes\qboqh{-2}JIG{=E}|\qsoqh{-2}ddbN\enotes -\temps\notes\rlap{\qboqb0CGEC}\ibu0d{-2}\boqh d\boqh d\boqh b\tbu0\boqh N\enotes -%\check -% mesure 92 -\barre\notes\rlap{\qsk\ibu0A0\boqh C\tbu0\boqh C}\ibu0K0\boqh K\qsk\rq K\tbu0\qh0J|\enotes -\temps\notes\rlap{\qsk\dsoqb0CC}\ibu0d0\boqh d\qsk\rq d\tbu0\qh0c|\enotes -\temps\notes\dsoqb0JJ|\ibu0k0\boqh k\rq k\tbu0\qh0j\enotes -\temps\notes|\rlap{\qsk\dsoqb0cc}\ibu0q0\soqh k\qsk\rq r\tbu0\qh0q\enotes -\cleftoksi={{0}{0}{0}{0}}\changeclefs -%\check -% mesure 93 -\barre\notes\dsoqb0jj\dsoqh0cc|\octline v\ibl0l0\soqb k\lq q\soqb k\zq p\soqb k\lq p\tbl0\soqb j\enotes -\temps\notes\zmidtwotext{\kern 2\Interligne\it sempre - \ppff \fff}\zq M\cu f|\zq m\cl t\enotes -\rlap{\notes|\zbreath\enotes}\relax -\cleftoksi={{6}{0}{0}{0}}\changeclefs -\temps\notes\dsoupir\boql f|\ibl0f1\soqb f\soqb g\tbl0\soqb h\enotes -% mesure 94 -\barre\notes\zmidtwotext{\it ed accelerando}\boql f\sk\boql f|\qsoqb0ighi\enotes -\temps\notes\boql f\sk\boql f|\qsoqb0jhij\enotes -%\check -% mesure 95 -\barre\notes\boql f\sk\boql f|\qsoqb0kjik\enotes -\temps\notes\boql f\sk\boql f|\qsoqb0jihj\enotes -%\check -% mesure 96 -\autolines 95\lppage\relax -\barre\notes\boql f\sk\boql f|\octline t\qsoqb0ihgi\enotes -\temps\notes\boql f\sk\boql f|\qsoqb0hgfh\enotes -%\check -% mesure 97 -\barre\notes\boql{=e}\sk\boql e|\qsoqb0gf{=e}g\enotes -\temps\notes\boql f\sk\boql f|\qsoqb3ffgh\enotes -%\check -% mesure 98 -\barre\notes\boql d\sk\boql d|\qsoqb0ighi\enotes -\temps\notes\boql c\sk\boql c|\qsoqb0jhij\enotes -%\check -% mesure 99 -\barre\notes\boql b\sk\boql b|\qsoqb0kjik\enotes -\temps\notes\boql a\sk\boql a|\qsoqb0jihj\enotes -%\check -% mesure 100 -\barre\notes\boql N\sk\boql N|\qsoqb0ihgi\enotes -\temps\notes\boql M\sk\boql M|\soql h\sk\dsoqb3gh\enotes -%\check -% mesure 101 -\barre\notes\boql K\sk\boql K|\octfin u{17}\qsoqb0ihgi\enotes -\temps\notes\boql J\sk\boql J|\qsoqb0hgfh\enotes -%\check -% mesure 102 -\barre\notes\boql J\sk\boql J|\qsoqb0gf{=e}g\enotes -\temps\NOtes\pointdorgue d\bohu K|\pointdorgue o\zh{hk}\bohl m\zbreath\enotes -% mesure 103 -\barre\notes\zmidtwotext{\ppff mp \it dolce}\soupir|\Uptext{\moyen A tempo}\enotes -\temps\notes\Ilegl0F\dqb3Na|\hpause\enotes -\temps\notes\qqb2bcdf|\zh{fi}\hu k\enotes -%\check -% mesure 104 -\barre\notes\qqb{-3}edcb|\zh{gi}\lh k\hl l\enotes -\temps\notes\tleg0\ql c\sk|\zh{hj}\hl l\enotes -\temps\notes\Ilegu0f\dqb3bc\enotes -%\check -% mesure 105 -\barre\notes\qqB0dcbd|\zh{il}\hl n\enotes -\temps\notes\qqB0cbac|\zh{hj}\hl m\enotes -% mesure 106 -\barre\notes\qqB0baNb|\lh i\zh j\hl{=l}\enotes -\temps\notes\tleg0\ql a\sk|\zh{hj}\hl m\enotes -\temps\notes\Ilegu0f\dqb3Na|\enotes -%\check -% mesure 107 -\barre\notes\qqB0baNb|\zh{gik}\hl m\enotes -\temps\notes\qqB0aNMa|\zh{hj}\hl m\enotes -%\check -% mesure 108 -\barre\notes\qqB0NM{=L}N|\zh{gj}\lh i\hl{=l}\enotes -\temps\notes\Tleg0\ql M\sk|\zq{hj}\ql m\enotes -\temps\notes\soupir|\Ilegl0M\dqh3MN\enotes -% mesure 109 -%\check -\barre\notes\uptext{\it senza arpeggiare}\zh{FJ}\hl M\relax - |\uptext{\it espressivo e delicato}\qqh3abcd\enotes -\temps\notes\rlap{\zh{EI}\hl L}\zh N|\qqh{-3}edcb\enotes -% mesure 110 -\barre\notes\zh H\hl L|\Tleg0\qu a\sk\enotes -\temps\notes|\Ilegl0a\dqh3c{=d}\enotes -\temps\notes\zh{JN}\hl c|\qqh4{=e}fgh\enotes -%\check -% mesure 111 -\barre\notes\zh{JN}\hl b|\qqh{-6}ig{_d}c\enotes -\temps\notes\zh{FJ}\hl M|\Tleg0\qu c\sk\enotes -\temps\notes|\Ilegl0b\dqh3fg\enotes -% mesure 112 -\barre\notes\zh F\hl L|\rlap{\hl c}\qqh0{=h}ijh\enotes -\temps\notes\zh{IM}\hl b|\rlap{\hl d}\Tleg0\qu f\sk\enotes -\temps\notes|\Ilegl0b\dqh3ij\enotes -% mesure 113 -\barre\notes\zh{IM}\hl b|\rlap{\hl d}\qqh{-6}kigf\enotes -\temps\notes\zh{JN}\hl c|\qqH6{=e}gkj\enotes -% mesure 114 -\barre\notes\zh{FJ}\hu M|\ibu0j{-6}\qh0{j=h}\tbu0\tleg0\qh0f\enotes -\temps\notes\zmidtwotext{\it crescendo}|\Ilegu0s\cl{_n}\enotes -\Arpg F5\notes\zh{FJ}\hu{=a}|\qqB0mljl\enotes -% mesure 115 -\barre\Arpg G5\notes\zh{IM}\hl d|\qqh{-5}lkif\enotes -\temps\notes\Soufflcr\zh{JN}\hl c\sk\sk\tleg0|\qqH6{=e}gkj\enotes -%\check -% mesure 116 -\barre\notes\zmidtwotext{\ppff ff}\zq{J=L}\ql N|\dsoqh{-3}dc\enotes -\cleftoksi={{0}{0}{0}{0}}\zchangeclefs -\nspace\notes\zq{c=e}\qu g|\dsoqb{-3}kj\enotes -\temps\notes\zq{j=l}\ql n|\dsoqb{-3}rq\enotes -\temps\notes\zq{ce}\qu g|\dsoqb{-3}kj\enotes -\cleftoksi={{6}{0}{0}{0}}\zchangeclefs -%\check -% mesure 117 -\def\motif#1#2#3{\notes\ibu0F4\boqh F\relax - |\sk{\advance\transpose by 3\relax\ibu1{#3}6}\zq{#1}\zq{#2}\qh1{#3}\relax - \tbl0\zq{#1}\zq{#2}\qb0{#3}\tbu1{\advance\transpose by 7\relax - \zq{#1}\zq{#2}\qh1{#3}}\enotes}% -%\check -\barre\vnotes 0.2\elemskip\zmidtwotext{\ppff f}|\zcharnote v{\kern -10mm -\moyen pi\`u vivo \rm(\metron{\qu}{110})}\enotes -% -\advance\linesinpage by 1\relax -% -\motif acf\temps\motif bdg\relax -% mesure 118 -\barre\motif cfh\temps\motif acf\relax -% mesure 119 -\barre\motif bdg\temps\motif cfh\relax -% mesure 120 -\barre\motif dgi\temps\motif bdg\relax -% mesure 121 -\barre\motif cfh\temps\motif dgi\relax -% mesure 122 -\barre\znotes\Soufflcr\enotes\motif {cf}hj\temps\motif cfh\relax -% mesure 123 -\barre\motif dfi\temps\motif fhj\relax -% mesure 124 -\barre\motif fik\temps\motif dfi\relax -\generalmeter{\meterfrac 54}\hyphenpenalty -5000\relax\changecontext -\hyphenpenalty -10\relax -\znotes\zmidtwotext{\kern -5mm\ppff ff}\enotes -% mesure 125 -%\check -\def\motif#1#2#3#4#5#6{\notes\ibu0a0\boqh C\ibu1e0{\advance\transpose by -14\relax -\zq{#1}\zq{#2}\qh1{#3}\zq{#4}\zq{#5}\qh0{#6}}\enotes -\notes{\advance\transpose by -7\relax -\zq{#1}\zq{#2}\qh1{#3}\zq{#4}\zq{#5}\qh0{#6}}\enotes -\notes|\zq{#1}\zq{#2}\qb1{#3}\zq{#4}\zq{#5}\qb0{#6}\enotes -\notes|{\advance\transpose by 7\relax -\zq{#1}\zq{#2}\qb1{#3}\tbl0\zq{#4}\zq{#5}\qb0{#6}}\enotes -\notes|{\advance\transpose by 14\relax -\tbl1\zq{#1}\zq{#2}\qb1{#3}}\enotes}% -%\check -\motif {=e}gjegj\relax -% mesure 126 -\barre\motif fhjfhj\relax -% mesure 127 -\barre\notes\ibu0a0\boqh C\ibu1e0{\advance\transpose by -14\relax -\zq g\rq i\qh1j\zq g\rq i\qh0j}\enotes -\notes{\advance\transpose by -7\relax -\zq g\rq i\qh1j\zq g\rq i\qh0j}\enotes -\notes|\zq g\lq i\qb1j\zq g\lq i\qb0j\enotes -\notes|{\advance\transpose by 7\relax -\zq g\lq i\qb1j\tbl0\zq g\lq i\qb0j}\enotes -\notes|{\advance\transpose by 14\relax -\tbl1\zq g\lq i\qb1j}\enotes -%\check -% mesure 128 -\barre\motif fikfik\relax -% mesure 129 -\barre\motif gi{=l}gil\relax -% mesure 130 -\generalmeter{\allabreve}\changecontext -\normal\NOtes|\octfin z1\rlap{\sforz I\zh{ce}\hl g}\relax -\sforz x\zh{j=ln}\hu q\enotes -\temps\NOtes\pointdorgue c\hpause|\pointdorgue o\hpause\enotes -% mesure 131 -\transpose=0\relax\barre -\autolines 95\lppage -\notes\rlap{\bohu F}\Ilegu0g\qqh3MNab\relax -|\zcharnote{-4}{\it dolce ed espressivo}\Uptext{\kern -3mm\moyen tempo I$^{\bf o}$}\enotes -\temps\notes\qqb0cbcd|\zh{hj}\hu m\uptext{\it m.s.}\enotes -% mesure 132 -%\check -\barre\notes\Tslurbreak0c\Islurdbreak0c\bohu L|\qqb0edef\enotes -\temps\notes|\rlap{\zh{il}\hu n}\qqb{-3}edcb\enotes -% mesure 133 -\barre\Notes\tslur0d\bohu H|\hl c\enotes -\temps\notes|\raise -5\Interligne\rlap{\soupir}\zh{lo}\hl q\enotes -\temps\notes|\Ilegl0K\ibl0c1\qb0{=b}\tqb0c\enotes -% mesure 134 -%\check -\barre\notes\bohu J|\qqb5{=e}gkj\enotes -\temps\notes|\rlap{\zh n\rh p\hu q}\qqB{-6}igdc\enotes -% mesure 135 -\barre\notes\bohl M|\ibl0e0\qb0{=h=ef}\tqb0g\enotes -\temps\notes|\rlap{\zh{m=o}\hu q}\qqb3hijk\enotes -%\check -% mesure 136 -\barre\Arpg D6\notes\zh{FJM}\hl{=a}|\rlap{\sk\sk\sk\tleg0}\qqb{-6}lj{=h}f\enotes -\temps\arpg G6\notes\zh{IMb}\hl d|\qqb{-6}ki{_h}g\enotes -%\check -% mesure 137 -\barre\arpg I5\notes\zh{KMb}\hl d|\qqb{-6}ki{_h}g\enotes -\temps\Arpg H5\notes\zmidtwotext{\it crescendo}\zh{JN}\lh b\hl c|\qqh{-6}{=l}kig\enotes -% mesure 138 -%\check -\barre\Arpg H6\notes\zh{=Lb=e}\hl g\zmidtwotext{\it molto}|\qqh{-6}n{=l}ki\enotes -\temps\Arpg b{9}\notes\zh c|\rlap{\zh {=eg}\hl j}\qqh{-6}pnlk\enotes -%\check -% mesure 139 -\barre\Arpg H5\notes\zh{=LN}\bohl c|\qqb{-8}rpnj\enotes -\temps\notes\zmidtwotext{\ppff f}\boql c\sk\boql c|\qsoqb{-8}rpnj\enotes -%\check -% mesure 140 -\barre\autolines {17}4\lppage\relax\bigaccid -\notes\zmidtwotext{\vbox{\hbox{\ppff ff \it con fuoco}\smallskip - \hbox{\it e crescendo}}}\soupir|\soupir\enotes -%\check -\notes\ibbl0F3\soqb F\qs\tbl0\soqb G\qs|\qs\ibbu0m3\soqh f\qs\tbu0\soqh g\enotes -%\check -\def\motif#1#2#3#4{\notes\ibbu0b0{\advance\transpose by -7\relax\boqh{#1}}\sk - |\qsk\sk\rlap{\soqb{#1}}\enotes -\notes{\advance\transpose by -7\relax\boqh{#2}}\sk|\rlap{\qsk\sk\soqb{#2}}\enotes -\notes{\advance\transpose by -7\relax\boqh{#3}}\sk|\rlap{\qsk\sk\soqb{#3}}\enotes -\notes{\advance\transpose by -7\relax\boqh{#4}}\sk\qsk|\rlap{\qsk\sk -\tbl0\soqb{#4}}\enotes -}% fin motif -%\check -\temps\motif hfgh\relax -%\check -% mesure 141 -\autolines {18}4\lppage -\barre\motif ighi\temps\motif jhij\nspace -% mesure 142 -\barre\motif kjik\temps\motif jihj\nspace -% mesure 143 -\barre\motif ihgi\temps\motif hgfh\nspace -%\check -% mesure 144 -\barre\motif gf{=e}g\temps\motif ffgh\relax -% mesure 145 -\barre\motif ighi\temps\motif jhij\nspace -% mesure 146 -\barre\motif {=k}ijk\temps\motif {=l}jkl\nspace -% mesure 147 -\barre\motif m{_l}{_k}j\temps\motif iijk\nspace -% mesure 148 -\barre\motif lkji\temps\motif hhij\relax -% mesure 149 -\barre\motif kjik\relax -%\check -\def\motif#1#2#3#4#5#6#7#8{\notes\ibbu0b0{\advance\transpose by -7\relax -\boqh{#1}}\sk|\qsk\sk\rlap{\soqb{#5}}\enotes -\notes{\advance\transpose by -7\relax\boqh{#2}}\sk|\rlap{\qsk\sk\soqb{#6}}\enotes -\notes{\advance\transpose by -7\relax\boqh{#3}}\sk|\rlap{\qsk\sk\soqb{#7}}\enotes -\notes{\advance\transpose by -7\relax\boqh{#4}}\sk\qsk|\rlap{\qsk\sk -\tbl0\soqb{#8}}\enotes}% fin motif -%\check -\temps\motif j{^j}{=k}{^k}jjjj\nspace -% mesure 150 -\barre\motif {=l}{_l}{=k}{_k}jjjj\relax -\temps\motif jihgjj{=k}{=l}\nspace -% mesure 151 -\barre\Notes\pointdorgue a\zcharnote i{\kern -\elemskip\ppff \fff}\bohl M\relax - |\pointdorgue u\zh{=oq}\sohl m\enotes -%\check -\NOTes\rlap{\pointdurgue F\soupir}\midtwotext{\kern \elemskip\it\vbox{\hsize 2\noteskip -\centerline{a piacere }\centerline{% -quasi una}\centerline{cadenza}}}|\pointdorgue m\hpause\enotes -\transpose=-7\relax -% -\Notes\charnote C{\ppff f}\dqh8FJ\enotes -% -% -% mesure 152 -% -\varaccid -\def\motif{}% -\def\motifb#1#2#3#4#5#6#7{\ibbl0{#2}{#1}\usf{#2}\qb0{#2}\tbbl0\qb0{#3}% -\nbbl0\qb0{#4}\tbbl0\qb0{#5}\nbbl0\qb0{#6}\tqb0{#7}}% -\def\motifh#1#2#3#4#5#6#7{\ibbu0{#2}{#1}\lsf{#2}\qh0{#2}\tbbu0\qh0{#3}% -\nbbu0\qh0{#4}\tbbu0\qh0{#5}\nbbu0\qh0{#6}\tqh0{#7}}% -\def\motifH#1#2#3#4#5#6#7{{\advance\transpose by 3\ibbu0{#2}{#1}}% -\lsf{#2}\qh0{#2}\tbbu0\qh0{#3}\nbbu0\qh0{#4}\tbbu0\qh0{#5}\nbbu0\qh0{#6}\tqh0{#7}}% -%\check -\transpose=0\relax -\barre\autolines {25}2\lppage -\notes\motifh8FHJMac\enotes -\temps\notes|\motifb8fhjmoq\enotes -%\check -% mesure 153 -\barre\notes|\motifb{-6}t{=s}tqom\enotes -\temps\notes|\na l\motifb{-6}lmjhf{=e}\enotes -\temps\notes|\usf f\ibbl0d0\qb0f\tbbl0\qb0c\enotes -\notes\nbbu0\qh0a\tbbu0\qh0M\nbbu0\qh0{=L}\tqh0M\enotes -\temps\notes\motifh{-4}JHF{=E}FC\enotes -\transpose=-7\relax -\temps\notes\ibbu0I{-6}\qh0H\lsf F\qh0F\lsf F\qh0F\lsf F\tqh0F\enotes -%\check -% mesure 154 -\barre -\transpose=-7\relax -\notes\motifh8FIKMbd\enotes -\temps\notes|\motifh8fikmpr\enotes -\transpose=7\relax -\notes|\usf f\ibbl0f4\qb0{fi}\tqb0k\enotes -%\check -% mesure 155 -\transpose=0\relax -\barre\notes|\motifb{-6}t{=s}trpm\enotes -\temps\notes|\na l\motifb{-6}lmkif{=e}\enotes -\temps\notes|\usf f\ibbl0e0\qb0f\tbbl0\qb0d\enotes -\notes\nbbu0\qh0b\tbbu0\qh0M\nbbu0\qh0{=L}\tqh0M\enotes -\temps\notes\motifh{-4}KIF{=E}FD\enotes -\transpose=-7\relax -\temps\notes\ibbu0I{-6}\qh0I\lsf F\qh0F\lsf F\qh0F\lsf F\tqh0F\enotes -%\check -% mesure 156 -\transpose=-7\relax -\barre\notes\motifH8FJ{_L}Mc{_e}\enotes -\temps\notes|\motifH8fj{_l}mq{_s}\enotes -\transpose=7\relax -\temps\notes|\sforz h\ibbl0g4\qb0{fj}\tqb0{_l}\enotes -%\check -% mesure 157 -\transpose=0\relax -\barre\notes|\motifb{-6}t{=s}t{_s}qm\enotes -\temps\notes|\na l\motifb{-6}lm{_l}jf{=e}\enotes -\temps\notes|\sforz h\ibbl0e0\qb0f\tbbl0\qb0{_e}\enotes -\notes\nbbu0\qh0c\tbbu0\qh0M\nbbu0\qh0{=L}\tqh0M\enotes -\temps\notes\motifh{-6}{_L}JF{=E}F{_E}\enotes -\transpose=-7\relax -\temps\notes\ibbu0I{-4}\qh0J\lsf F\qh0F\lsf F\qh0F\lsf F\tqh0F\enotes -%\check -% mesure 158 -\def\motif{}% -\def\motifb{}% -\def\motifh{}% -\normal -\barre\notes\transpose=-7\relax\ibbu0H8\qh0{FIK}\tqh0M\enotes -\temps\notes\transpose=0\relax\ibbu0I8\qh0{IK}\tqh0M\enotes -\temps\notes|\transpose=7\relax\ibbu0I8\qh0{IK}\tqh0M\enotes -\temps\notes|\transpose=0\relax\lsf i\ibbu0i8\qh0{ik}\tqh0m\enotes -\temps\notes|\transpose=7\relax\lsf g\ibbu0g8\qh0{gik}\tqh0m\enotes -%\check -\def\souffldim{\zmidtwotext{\kern -1cm\raise 5pt\hbox{\Dimin}}}% -% mesure 159 -\transpose=7\relax\def\motifa{\sforz u\ibbu0m0\qh0{nm}\tqh0n}\relax -\def\motifb{\ibbl0k{-8}\qb0{ki}\tqb0f}\relax -\barre\notes\souffldim|\motifa\enotes -\notes|\motifb\enotes -\transpose=0\relax -\temps\notes|\motifa\enotes -\notes|\motifb\enotes -\transpose=-7\relax -\temps\notes|\motifa\enotes -\notes\motifb\enotes -\transpose=-14\relax -\temps\notes\motifa\enotes -\notes\motifb\enotes -\transpose=-21\relax -\temps\notes\motifa\enotes -\notes\motifb\enotes -%\check -% mesure 160 -\barre\notes\transpose=-7\relax\ibbu0H8\qh0{FJM}\tqh0N\enotes -\temps\notes\transpose=0\relax\ibbu0H8\qh0{HJM}\tqh0N\enotes -\temps\notes\transpose=7\relax\ibbu0J0\qh0{HJ}\enotes -\notes|\transpose=7\qb0M\tqb0N\enotes -\temps\notes|\transpose=0\relax\ibbu0h8\qh0{hjm}\tqh0n\enotes -\temps\notes|\transpose=7\relax\ibbl0h8\qb0{hjm}\tqb0n\enotes -% -% mesure 161 -% sixte et quinte inferieures -\transpose=0\relax -\def\motifb{}\def\motifh{}\def\motifH{}% -\def\bsqh#1{{\advance\transpose by -5\relax\zq{#1}}\qh0{#1}}% -\def\bqqh#1{{\advance\transpose by -4\relax\zq{#1}}\qh0{#1}}% -\def\tbsqh{\tbu0\bsqh}\def\tbqqh{\tbu0\bqqh}% -\cleftoksi={{0}{0}{0}{0}}\changeclefs -\generalmeter{\meterfrac 44}\changecontext -\def\serre{\normal\elemskip=8pt}\serre -\def\motif{\ibbbl2n{-6}\qb2{onm}\tqb2j}% -\transpose=0\relax -\temps\notes|\octline r\motif\enotes -\temps\notes\souffldim|\motif\enotes -\temps\notes\hpause|\motif\enotes -\temps\notes|\motif\enotes -% -% -\temps\notes\soupir|\motif\enotes -\temps\notes\zmidtwotext{\ppff p}|\motif\enotes -\temps\notes\ibu0f1\bsqh f|\motif\enotes -\notes\tbsqh g|\motif\enotes -% mesure 162 -\def\Motif#1#2#3#4{\ibbbl2{#1}{-6}\hb2{#1#2#3}\tbl2\hb2{#4}}% -\barre\NOtes\ibu0g0\bsqh h\bsqh f\bsqh g\tbsqh h\relax - |\Motif onmj\enotes -\temps\NOtes\ibu0h0\bsqh i\bsqh g\bsqh h\tbsqh i|\Motif ponk\enotes -% mesure 163 -%\check -\def\motif#1#2#3#4{\ibbbl1#1{-6}\qb1{#1#2#3}\tbl1\qb1{#4}}% -\barre\NOtes\ibu0i0\bsqh j\bsqh h\bsqh i\tbsqh j\relax - |\octline t\Motif qpom\enotes -\autolines {23}2\lppage -\temps\notes\ibu0j{-4}\bsqh k|\motif rqpm\enotes -\notes\tbsqh i|\motif rqpm\enotes -\temps\notes\ibu0i{-4}\bsqh j|\motif qpom\enotes -\notes\tbsqh h|\motif qpom\enotes -%\check -% mesure 164 -\generalmeter{\meterfrac 34}\changecontext -\notes\ibu0h{-4}\zq d\qh0i|\motif pon{=l}\enotes -\notes\tbsqh g|\motif ponl\enotes -\temps\NOtes\zh b\zh{=e}\hu g|\Motif ponl\enotes -%\check -% mesure 165 -\generalmeter{\meterfrac 44}\changecontext\serre -\notes\ibu0h{-6}\bsqh i|\octline t\motif ponk\enotes -\notes\tbsqh g|\motif ponk\enotes -\temps\notes\ibu0g{-6}\bsqh h|\motif onmj\enotes -\notes\tbsqh f|\motif onmj\enotes -\temps\NOtes\zq a\qu f\sk\ibu0g{-6}\bsqh h\tbsqh f|\Motif onmj\enotes -%\check -% mesure 166 -\barre\serre\notes\ibu0g1\na e\bsqh e\relax|\motif nm{=l}i\enotes -\notes\bsqh g|\motif nmli\enotes -\notes\bsqh f|\motif onmj\enotes -\notes\tbsqh h|\motif onmj\enotes -\temps\notes\ibu0i1\bsqh g|\motif ponk\enotes -\notes\bsqh i|\motif ponk\enotes -\notes\bsqh h|\motif qpo{_l}\enotes -\notes\bigfl e\tbu0\bsqh j|\motif qpol\enotes -%\check -% mesure 167 -\generalmeter{\meterfrac 34}% -\changecontext\autolines {25}2\lppage\noautolines -\notes\ibu0j1\bigna h\bsqh h|\octline t\motif qp{=o}m\enotes -\notes\bsqh j|\motif qpom\enotes -\notes\bsqh i|\motif rqpm\enotes -\notes\tbsqh k|\motif rqpm\enotes -\temps\notes\ibu0j1\bsqh j|\motif srqm\enotes -\Notes\fl g\tbsqh l|\motif srqm\enotes -% -% mesure 168 -\generalmeter{\meterfrac 44}\changecontexte -\Notes\zq f\qu k\sk\ibu0i2\bsqh i\tbsqh k|\Motif rqpm\enotes -\temps\Notes\ibu0i0\bsqh j\bsqh i\fl h\bsqh h\tbsqh j|\Motif qpom\enotes -% -% mesure 169 -\xbarre\Notes\ibu0h0\bsqh i\bsqh h\bsqh g\tbsqh i|\Motif ponk\enotes -\autolines{11}5\lppage\noautolines -\zalaligne\Notes\ibu0g0\bsqh h\bsqh g\bsqh f\tbsqh h|\octline t\Motif onmj\enotes -% mesure 170 -\xbarre\Notes\ibu0f0\bsqh g\bsqh f\na e\bsqh e\tbsqh g|\Motif nm{=l}i\enotes -\temps\Notes\zq a\qu f\sk\ibu0f0\zq c\bsqh f\zq c\tbsqh f|\Motif onmj\enotes -% mesure 171 -\xbarre\Notes\ibu0f0\na a\zq c\bsqh f\zq c\bsqh f\zq c\bsqh f\zq c\tbsqh -f|\na o\Motif onmj\enotes -\temps\Notes\ibu0f0\zq d\bqqh f\zq d\bqqh f\zq d\bqqh f\zq d\tbqqh -f|\Motif p{_o}nk\enotes -%\check -% mesure 172 -\xbarre\Notes\ibu0g0\zq d\bsqh g\zq d\bsqh g\zq d\bsqh g\zq d\tbsqh -g|\Motif ponk\enotes -\temps\Notes\ibu0h0\zq f\bsqh h\zq f\bsqh h\zq f\bsqh h\zq f\tbsqh -h|\Motif qpom\enotes -% mesure 173 -\xbarre\Notes\ibu0g0\zmidtwotext{\it smorz.}\relax -\zq{c=e}\qh0i\zq{ce}\qh0i\zq{ce}\qh0i\zq{ce}\tqh0i|\Motif pon{=l}\enotes -\nspace\NOtes\pointdorgue l\hpause|\pointdorgue l\hpause\enotes - \suspmorceau -\eject -%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% -% finale % -\transpose=0\relax\cleftoksi={{6}{0}{0}{0}}% -% mesure 200 -\linesinpage=0\relax -\barno=200\relax\autolines 95\lppage -\generalmeter{\allabreve}\reprmorceau -\savemeters\saveclefs -\notes\zmidtwotext{\ppff p}|\Uptext{\kern -7mm\moyen -a tempo primo, con molta delicatezza}\soupir\enotes -\temps\notes\hpause|\Ilegl0d\dqh3fg\enotes -\temps\notes\zh{Ma}\hl c|\qqh0hfgh\enotes -% mesure 201 -\barre\notes\zh{Mb}\hl d|\qqh0ighi\enotes -\temps\notes\zh{Ma}\hl c|\Tleg0\qu j\sk\enotes -\temps\notes|\Ilegl0d\dqh3ij\enotes -% mesure 202 -\barre\notes\zh{Mb}\hl d|\qqh0kjik\enotes -\temps\notes\zh{Ma}\hl c|\qqh0jihj\enotes -%\check -% mesure 203 -\barre\notes\zh M\lh N\hl b|\qqh0ihgi\enotes -\temps\notes\zh{Ma}\hl c|\Tleg0\qu h\enotes -\temps\notes|\Ilegl0d\dqh3gh\enotes -%\check -% mesure 204 -\barre\notes\zh{Mb}\hl d|\qqh0ihgi\enotes -\temps\notes\zh{Ma}\hl c|\qqh0hgfh\enotes -% mesure 205 -\barre\notes\zh{Mb}\lh N\hl d|\qqh0gf{=e}g\enotes -\temps\notes\zh{Ma}\hl c|\Tleg0\qu f\sk\enotes -\temps\notes|\Ilegu0r\dqh3gh\enotes -% mesure 206 -\barre\notes\zh{LN}\hl b|\rlap{\hl e}\qqh0ighi\enotes -\temps\notes\zh{La}\hl c|\rlap{\hl e}\qqh0jijk\enotes -% mesure 207 -\barre\notes\zh b\bohl e|\rlap{\hl g}\qqh{-3}lkji\enotes -\cleftoksi={{0}{0}{0}{0}}\changeclefs -\temps\notes\zh{ac}\hl e|\Tleg0\qu h\sk\enotes -\temps\notes|\Ilegu0t\dqh3jk\enotes -% mesure 208 -\barre\notes\zh{Nc}\hu{=e}|\na l\qqb3lmno\enotes -\temps\notes\zh{ce}\hu i|\qqb{-6}pnkj\enotes -% mesure 209 -\barre\nspace\notes\zh{cf}\hu{=h}|\Uptext{\it sempre \ppff p}\relax - \ibl0m0\qb0{=o=lm}\tqb0n\enotes -\temps\notes\zh{c_e}\hu h|\qqb3opqr\enotes -%\check -% mesure 210 -\barre\notes\zh{=ac}\hu{_g}|\qqb{-7}sq{=o}m\enotes -\temps\notes\zh{bd}\hu f|\Tleg0\ql r\enotes -\temps\notes|\Ilegu0s\dqb4pr\enotes -% mesure 211 -\barre\notes\zh{ac}\hu f|\qqB0qpoq\enotes -\cleftoksi={{6}{0}{0}{0}}\changeclefs -\temps\notes\zh{Nb}\hl{=e}|\qqB0ponp\enotes -% mesure 212 -\generalmeter{\meterfrac 32}\changecontexte -\Notes\zh{Ma}\hl c|\Tleg0\ql o\enotes -\temps\notes|\Ilegu0r\dqb3no\enotes -\temps\notes\zh{KM}\hl b|\qqB0ponp\enotes -\temps\notes\zh{JM}\hl a|\qqB0onmo\enotes -%\check -% mesure 213 -\generalmeter{\allabreve}\changecontexte -\notes\zh{J=L}\hl N|\qqB0nm{=l}n\enotes -\temps\Notes\boqu M|\Tleg0\hl m\enotes -\temps\notes\zmidtwotext{\kern -1.5\noteskip\ppff pp}\Ilegu0e\dqb3MN\enotes -%\check -% mesure 214 -\alaligne\notes\qqb3abcd|\zh{fh}\hu j\enotes -\temps\notes\qqb{-3}cbaN|\zh{=eg}\hu j\enotes -%\check -% mesure 215 -\barre\Notes\tleg0\ql a|\zh{fh}\hu j\enotes -\temps\notes\Ilegu0d\dqb3Na\enotes -\temps\notes\qqb0baNb|\zh{fi}\hu k\enotes% mesure 216 -\barre\notes\qqB0aNMa|\zh{fh}\hl j\enotes -\temps\notes\qqB0NM{=L}N|\zh{=eg}\hu j\enotes -% mesure 217 -\barre\notes\Tleg0\hl M|\zh{fh}\hu j\enotes -\cleftoksi={{6}{6}{0}{0}}\changeclefs -\notes|\Ilegl0E\dqh3Na\enotes -\temps\notes\bohu K|\rlap{\hl M}\qqh5bcdf\enotes -% mesure 218 -\barre\notes\bohu L|\rlap{\hl N}\qqh{-3}edcb\enotes -\temps\Notes\bohu H|\Tleg0\rlap{\ql a}\qu c\enotes -\temps\notes|\Ilegl0E\dqh3bc\enotes -%\check -% mesure 219 -\barre\notes\bohu I|\rlap{\hl M}\qqh0dcbd\enotes -\temps\notes\bohu J|\rlap{\hl M}\qqh0cbac\enotes -%\check -% mesure 220 -\barre\notes\bohu J|\rlap{\hl{=L}}\qqh0baNb\enotes -\temps\notes\bohu F\sk|\Tleg0\rlap{\ql J}\qu a\enotes -\temps\notes|\Ilegl0F\dqh3Na\enotes -% mesure 221 -\barre\notes\Uptext{\it diminuendo,\ \ ma senza}\bohu D\relax - |\rlap{\hl K}\qqh0baNb\enotes -\temps\notes\bohu C|\rlap{\hl J}\qqh0aNMa\enotes -% mesure 222 -%\check -\barre\notes\Uptext{\it rallentare}\bohu C|\rlap{\hl J}\qqh0NMLN\enotes -\temps\NOtes\bohu F|\Tleg0\rlap{\hl J}\hu M\enotes -% mesure 223 -\barre\notes\bohu F|\itenu0f\itenl1M\rlap{\qsk\zqp b\qup d}\bohl f\sk\sk -\itenu2a\itenu3c\zq a\cu c\qsk\enotes -\NOtes\pointdorgue a\bohu F\relax - |\pointdurgue F\tten0\tten1\tten2\tten3\zh{ac}\bohl f\enotes -\finmorceau \rightline{\sl \aujourdhui} -\eject\bye - diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/pacifiqn.tex b/Master/texmf-dist/doc/generic/musixtex/examples/pacifiqn.tex index 554314e05e4..78395927451 100644 --- a/Master/texmf-dist/doc/generic/musixtex/examples/pacifiqn.tex +++ b/Master/texmf-dist/doc/generic/musixtex/examples/pacifiqn.tex @@ -89,11 +89,19 @@ janvier 1990} \computewidths \staffbotmarg=5\Interligne % +% Changes for 16 pt musicsize +%\showthe\musicsize +\def\Zalapage{\ifx\NoPageCut\undefined\zalapage\else\zbarre\fi}% +\def\Zalaligne{\ifx\NoPageCut\undefined\zalaligne\else\zbarre\fi}% +\def\Alapage{\ifx\NoPageCut\undefined\alapage\else\barre\fi}% +\def\Alaligne{\ifx\NoPageCut\undefined\alaligne\else\barre\fi}% +\def\Eject{\ifx\NoPageCut\undefined\eject\else\par\fi}% +% \debutmorceau % \noteskipLarge \hyphenpenalty -50\relax -\notes|\Uptext{\moyen\kern -20pt Andante \rm(\metron{\qu}{90})}\enotes +\notes|\Uptext{\moyen\kern -20pt Andante \rm(\metron{\qu}{70})}\enotes \vnotes 0.2\elemskip\uptext{\kern -5mm\ppff p}|\uptext{\ppff mp}\enotes \zglu\Notes\PED\zh{Ma}\hl c|\soupir\enotes \zglu\notes\sk\DEP|\Ilegl0d\dqh3fg\enotes @@ -134,7 +142,7 @@ janvier 1990} \barre\notes\zh{Mb}\hl d|\qqh0ihgi\enotes \temps\notes\zh{Ma}\hl c|\qqh0hgfh\enotes % mesure 13 -\alaligne\notes\zh{Mb}\lh N\hl d|\qqh0gf{=e}g\enotes +\Alaligne\notes\zh{Mb}\lh N\hl d|\qqh0gf{=e}g\enotes \temps\notes\zh{Ma}\hl c|\Tleg0\qu f\sk\enotes \temps\notes\rmidtwotext{\kern -3mm\it un poco}|\Ilegu0r\dqh3gh\enotes % mesure 14 @@ -148,7 +156,7 @@ janvier 1990} \barre\notes\bohu a|\rlap{\hl e}\zq h\qqh0jijk\enotes \temps\notes\bohu L|\rlap{\hl g}\zq i\qqh{-3}lkji\enotes % mesure 17 -\alaligne\Notes\bohu M|\zq f\tleg0\qu h\enotes +\Alaligne\Notes\bohu M|\zq f\tleg0\qu h\enotes \temps\notes|\Ilegu0q\dqh3ij\enotes \temps\notes\bohu K|\rlap{\hl f}\zq h\qqh{-3}kjih\enotes % mesure 18 @@ -163,7 +171,7 @@ janvier 1990} \temps\notes\bohu J|\rlap{\hl c}\zq{=e}\qqh0gfeg\enotes % mesure 21 \xbarre\Notes\zq F\ql M|\zq{ac}\tleg0\qu f\enotes -\zalapage\notes\rlap{\zcharnote{-5}{\ppff mf}}\Ilegu0d\dqb3MN\relax +\Zalapage\notes\rlap{\zcharnote{-5}{\ppff mf}}\Ilegu0d\dqb3MN\relax |\soupir\uptext{\ppff p}\enotes \temps\notes\qqB0aMNa|\zh{fh}\hu j\enotes % mesure 22 @@ -177,7 +185,7 @@ janvier 1990} \barre\notes\qqB0baNb|\zh i\rh j\hu{=l}\enotes \temps\notes\qqB0aNMa|\zh{hj}\hu m\enotes % mesure 25 -\alaligne\notes\qqB0NM{=L}N|\zh{gj=l}\hl n\enotes +\Alaligne\notes\qqB0NM{=L}N|\zh{gj=l}\hl n\enotes \temps\notes\Tleg0\ql M\zmidtwotext{\it crescendo}\sk|\zh{hjm}\hl o\enotes \temps\notes\Ilegl0F\dqb3Na|\enotes % mesure 26 @@ -192,7 +200,7 @@ janvier 1990} \barre\notes\qqb{-3}f{_e}{_d}c|\zh{f=hj}\hu m\enotes \temps\notes\qqb{1}bcde|\zh{gil}\hu n\enotes % mesure 29 -\alaligne\notes\qqb0cbcd|\zh{_hjm}\hl o\enotes +\Alaligne\notes\qqb0cbcd|\zh{_hjm}\hl o\enotes \temps\notes\qqb0cbab|\zh{fhj}\hl m\enotes % mesure 30 \barre\notes\qqb{-3}cbaN|\zh{gj=l}\hl n\enotes @@ -209,8 +217,8 @@ janvier 1990} % % mesure 33 % changement d'espacement -\def\interfacteur{12}% -\alaligne\noteskipLARGE\nspace\notes\qqb{-3}cbaN|\zh{j=ln}\hl q\enotes +\def\atnextline{\def\interfacteur{12}}% +\Alaligne\noteskipLARGE\nspace\notes\qqb{-3}cbaN|\zh{j=ln}\hl q\enotes \temps\notes\Tleg0\ql a\sk|\zh{hjm}\hl o\enotes \temps\notes\Ilegl0F\dqb3bc|\enotes % mesure 34 @@ -221,7 +229,7 @@ janvier 1990} \temps\notes\soufflcr\qqb{-3}cbaN|\zh{=lnq}\hl{=s}\enotes % mesure 36 \barre\nspace\notes\zmidtwotext{\ppff f}\tleg0\ql M|\zq{m_oq}\ql t\cbreath\enotes -\zalapage\noteskipLarge\notes\zmidtwotext{\ppff mf}\soupir|\Ilegu0s\dsoqb3fg\enotes +\Zalapage\noteskipLarge\notes\zmidtwotext{\ppff mf}\soupir|\Ilegu0s\dsoqb3fg\enotes \temps\arpg K5\relax \notes \zh{Mac}\hl f\uptext{\vbox{\offinterlineskip\hbox{\it arpeggi}\vskip 1mm\hbox{\it nervosi}}}\relax |\qsoqb0hfgh\enotes @@ -239,7 +247,7 @@ janvier 1990} \temps\arpg K5\notes\zh{Mac}\hl f|\qsoqb0hgfh\enotes %\check % mesure 40 -\alaligne\Arpg J5\notes\zh{JNc}\lh b\hl{=e}|\qsoqb0gf{=e}g\enotes +\Alaligne\Arpg J5\notes\zh{JNc}\lh b\hl{=e}|\qsoqb0gf{=e}g\enotes \temps\arpg F6\notes\zq{FJMa}\ql c|\Tleg0\zq f\ql m\sk\enotes \notes\soupir|\Ilegu0t\dsoqb3gh\enotes %\check @@ -257,8 +265,8 @@ janvier 1990} \temps\notes|\Ilegu0t\dsoqb3jk\enotes %\check % mesure 44 -\advancebottom{\Interligne}\relax -\alaligne\Arpg L5\notes\zh{Lb_e}\hl g|\qsoqb{-3}lkji\enotes +\def\atnextline{\advancebottom{\Interligne}}\relax +\Alaligne\Arpg L5\notes\zh{Lb_e}\hl g|\qsoqb{-3}lkji\enotes \temps\arpg K5\notes\zh{Mac}\hl f\sk|\Tleg0\zq h\ql o\enotes \temps\notes|\Ilegu0r\dsoqb3gh\enotes %\check @@ -281,7 +289,7 @@ janvier 1990} \temps\notes\qsoqb0GEFG|\zq{_ln}\qsoqb0ighi\enotes %\check % mesure 48 -\alaligne\noteskipLARGE\notes\zq H\ql a\sk\dsoqb{-3}FE|\zq{lo}\qsoqb0jhij\enotes +\Alaligne\noteskipLARGE\notes\zq H\ql a\sk\dsoqb{-3}FE|\zq{lo}\qsoqb0jhij\enotes \temps\notes\zq D\ql K\sk\dsoqb3EF|\zq{mp}\qsoqb0kijk\enotes %\check % mesure 49 @@ -293,7 +301,7 @@ janvier 1990} \temps\notes\qboqb{-3}fe{=d}{_d}|\zq{jm}\qsoqb0hghi\enotes %\check % mesure 51 -\alaligne\notes\zq J\ql c\sk\zq J\ql c|\zq{jm}\qsoqb{-3}hgf{=e}\enotes +\Alaligne\notes\zq J\ql c\sk\zq J\ql c|\zq{jm}\qsoqb{-3}hgf{=e}\enotes \temps\arpg F5\notes\zq{FJM}\ql a\sk|\relax \ifx\mxversion\undefined\Tleg0\relax \else\tslur0o\relax @@ -311,8 +319,8 @@ janvier 1990} %\check % mesure 54 \barre\nspace\uarpg h5\notes\tleg0\ql a\sk|\zh{jlo}\hl q\enotes -\advancebottom{-\Interligne}\relax \def\interfacteur{10}% -\zalapage\noteskipLarge\notes\dsoqb3J{=K}|\enotes +\def\atnextline{\advancebottom{-\Interligne}\relax\def\interfacteur{10}}% +\Zalapage\noteskipLarge\notes\dsoqb3J{=K}|\enotes \temps\uArpg h5\notes\qsoqb0{=L}KLM|\zh{j=ln}\hl q\enotes % mesure 55 \barre\noteskipLarge\nspace\uArpg h5\notes\qboqb0gfg{=h}|\zh{j=ln}\hl q\enotes @@ -329,7 +337,7 @@ janvier 1990} \temps\notes\Soufflcr\qsoqb{-3}LKJI|\zq{_lnp}\ql s\sk\zq{lnp}\ql s\enotes %\check % mesure 58 -\alaligne\notes\zq H\ql a\sk|\zh{hjl}\hl o\enotes +\Alaligne\notes\zq H\ql a\sk|\zh{hjl}\hl o\enotes \temps\notes\dsoqb3IJ|\enotes \temps\notes\qsoqb0KJIK|\zq{ikm}\ql p\sk\zq{ikm}\ql p\enotes %\check @@ -348,8 +356,8 @@ janvier 1990} \temps\notes\qsoqb0GF{=E}G|\zq{j=ln}\ql q\sk\zq{jln}\ql q\sk\enotes %\check %mesure 62 -\def\interfacteur{9}% -\alaligne\arpg F6\notes\zmidtwotext{\ppff \fff}\zq{FJMa}\ql c\relax +\def\atnextline{\def\interfacteur{9}}% +\Alaligne\arpg F6\notes\zmidtwotext{\ppff \fff}\zq{FJMa}\ql c\relax |\zq{moq}\ql t\cbreath\enotes \temps\noteskipLarge\notes\zmidtwotext{\ppff mp \it subito}\soupir|\Ilegu0r\dqh3fg\enotes \temps\arpg H5\notes\zh{JMa}\hl c|\qqh0hfgh\enotes @@ -369,7 +377,7 @@ janvier 1990} \temps\notes|\Ilegu0q\dqh3gh\enotes %\check % mesure 66 -\alaligne\arpg I4\notes\zh{KMb}\hl d|\qqh0ihgi\enotes +\Alaligne\arpg I4\notes\zh{KMb}\hl d|\qqh0ihgi\enotes \temps\arpg H5\notes\zh{JMa}\hl c|\qqh0hgfh\enotes %\check % mesure 67 @@ -393,7 +401,7 @@ janvier 1990} \temps\arpg B6\notes\bozh I\hu M|\qqB0{=d}bcd\enotes %\check % mesure 70 -\alaligne\noteskipLARGE\Arpg A7\notes\bozh J\hu N|\qqB0{=e}c{=d}e\enotes +\Alaligne\noteskipLARGE\Arpg A7\notes\bozh J\hu N|\qqB0{=e}c{=d}e\enotes \temps\Arpg {!`E}8\notes\bozh F\zh{=H}\hu M|\qqb{-3}f{_e}{_d}c\enotes %\check % mesure 71 @@ -405,7 +413,7 @@ janvier 1990} \temps\arpg B6\notes\bozh I\hu M|\qqb{-3}dcba\enotes %\check % mesure 73 -\alaligne\noteskipLARGE\arpg B5\notes\bozh J\hu{=L}|\qqb3Nabd\enotes +\Alaligne\noteskipLARGE\arpg B5\notes\bozh J\hu{=L}|\qqb3Nabd\enotes \temps\arpg B6\notes\bozh J\hu N|\qqb{-3}cbaN\enotes % % mesure 74 @@ -423,9 +431,9 @@ janvier 1990} \barre\noteskipLarge\arpg{-8}6\notes\bozq F\zq H\qu J\relax |\Tleg0\ql M\enotes \cleftoksi={{6}{0}{0}{0}}% -\changeclefs\def\interfacteur{11}% -\advancebottom{\Interligne}\relax -\zalapage\nspace\notes\zmidtwotext{\it pi\`u dolce}\soupir|\Ilegu0r\dboqh3gh\enotes +\changeclefs +\def\atnextline{\def\interfacteur{11}\advancebottom{\Interligne}}\relax +\Zalapage\nspace\notes\zmidtwotext{\it pi\`u dolce}\soupir|\Ilegu0r\dboqh3gh\enotes \temps\arpg D5\notes\bozh L\hu N|\qboqh0ighi\enotes % mesure 77 %\check @@ -442,7 +450,7 @@ janvier 1990} \temps\arpg C6\notes\bozh J\hu N|\qboqh{-3}jihg\enotes %\check % mesure 80 -\alaligne\arpg {!`F}6\notes\bozh F\hu J|\zq a\qu h\sk\enotes +\Alaligne\arpg {!`F}6\notes\bozh F\hu J|\zq a\qu h\sk\enotes \temps\notes|\dboqh3gh\enotes \temps\arpg B5\notes\bozh I\hu K|\qboqh0ihgi\enotes % mesure 81 @@ -459,7 +467,7 @@ janvier 1990} |\zq{mp}\qsoqb0kijk\enotes % \check % mesure 84 -\alaligne\noteskipLARGE\notes\zmidtwotext{\it\ \ pi\`u}\qboqb{-3}cbaN|\zq{nq}\qsoqb{-3}lkji\enotes +\Alaligne\noteskipLARGE\notes\zmidtwotext{\it\ \ pi\`u}\qboqb{-3}cbaN|\zq{nq}\qsoqb{-3}lkji\enotes \temps\notes\zmidtwotext{\it animato}\zh F\hl M|\zq{jm}\qsoqb2hijl\enotes % \check % mesure 85 @@ -471,7 +479,7 @@ janvier 1990} \barre\notes\boql a\sk\boql a|\zq{mo}\qsoqb{-3}jihg\enotes \temps\notes\bohu K|\zq{ik}\qsoqb2fghj\enotes % mesure 87 -\alaligne\nspace\notes\boql N\sk\boql N|\zq{=ln}\qsoqh{-3}ihgf\enotes +\Alaligne\nspace\notes\boql N\sk\boql N|\zq{=ln}\qsoqh{-3}ihgf\enotes \temps\notes\bohu J|\zq{gi}\qsoqh2{=e}fgi\enotes % mesure 88 \barre\notes\qboqh0M{=L}MN|\zq{jm}\qsoqb0hghi\enotes @@ -485,7 +493,7 @@ janvier 1990} \temps\notes\qboqb0{=e}def|\zq{j=l}\qsoqh0gfgh\enotes %\check % mesure 90 -\alaligne\noteskipLarge\notes\qboqb{-2}gg{=e}{_d}|\relax +\Alaligne\noteskipLarge\notes\qboqb{-2}gg{=e}{_d}|\relax \ifx\mxversion\undefined\octfin v9\fi \zq{=ln}\qsoqb{-2}iig{=e}\enotes \temps\notes\qboqb{-2}cbN{=L}|\qsoqh{-2}{_d}dbN\relax @@ -509,8 +517,8 @@ janvier 1990} \ibl0l0\soqb k\lq q\soqb k\zq p\soqb k\lq p\tbl0\soqb j\enotes \temps\notes\zq M\cu f|\zq m\cl t\zbreath\enotes \cleftoksi={{6}{0}{0}{0}}\changeclefs -\staffbotmarg=3\Interligne\def\interfacteur{11}% -\zalapage\notes\midtwotext{\kern -6mm\it sempre +\def\atnextline{\staffbotmarg=3\Interligne\def\interfacteur{11}}% +\Zalapage\notes\midtwotext{\kern -6mm\it sempre \ppff \fff}\enotes \temps\notes\dsoupir\boql f|\ifx\mxversion\undefined\octline v\fi \ibl0f1\soqb f\soqb g\tbl0\soqb h\enotes @@ -527,7 +535,7 @@ janvier 1990} \temps\notes\boql f\sk\boql f|\qsoqb0hgfh\enotes %\check % mesure 97 -\alaligne\noteskipLarge +\Alaligne\noteskipLarge \notes\boql{=e}\sk\boql e|\ifx\mxversion\undefined\octline t\fi \qsoqb0gf{=e}g\enotes \temps\notes\boql f\sk\boql f|\qsoqb3ffgh\enotes @@ -545,7 +553,7 @@ janvier 1990} \temps\notes\boql M\sk\boql M|\soql h\sk\dsoqb3gh\enotes %\check % mesure 101 -\alaligne\notes\boql K\sk\boql K|\ifx\mxversion\undefined\octfin u{17}\fi +\Alaligne\notes\boql K\sk\boql K|\ifx\mxversion\undefined\octfin u{17}\fi \qsoqb0ihgi\enotes \temps\notes\boql J\sk\boql J|\qsoqb0hgfh\enotes %\check @@ -555,21 +563,21 @@ janvier 1990} \ifx\mxversion\undefined\else\toctfin\fi \enotes % mesure 103 \barre\notes\zmidtwotext{\ppff mp \it dolce}\soupir|\Uptext{\moyen A tempo}\enotes -\temps\notes\Ilegl0F\dqb3Na|\hpause\enotes +\temps\notes\islurd0G\dqb3Na|\hpause\enotes \temps\notes\qqb2bcdf|\zh{fi}\hu k\enotes %\check % mesure 104 \barre\notes\qqb{-3}edcb|\zh{gi}\lh k\hl l\enotes -\temps\notes\tleg0\ql c\sk|\zh{hj}\hl l\enotes -\temps\notes\Ilegu0f\dqb3bc\enotes +\temps\notes\tslur0G\ql c\sk|\zh{hj}\hl l\enotes +\temps\notes\Ilegu0d\dqb3bc\enotes %\check % mesure 105 -\alaligne\notes\qqB0dcbd|\zh{il}\hl n\enotes +\Alaligne\notes\qqB0dcbd|\zh{il}\hl n\enotes \temps\notes\qqB0cbac|\zh{hj}\hl m\enotes % mesure 106 \barre\notes\qqB0baNb|\lh i\zh j\hl{=l}\enotes \temps\notes\tleg0\ql a\sk|\zh{hj}\hl m\enotes -\temps\notes\Ilegu0f\dqb3Na|\enotes +\temps\notes\Ilegu0c\dqb3Na|\enotes %\check % mesure 107 \barre\notes\qqB0baNb|\zh{gik}\hl m\enotes @@ -580,9 +588,9 @@ janvier 1990} \temps\notes\Tleg0\ql M\sk|\zq{hj}\ql m\enotes \temps\notes\soupir|\Ilegl0M\dqh3MN\enotes % mesure 109 -\advancebottom{-2\Interligne}% +\def\atnextline{\advancebottom{-2\Interligne}}% %\check -\alaligne\notes\uptext{\it senza arpeggiare}\zh{FJ}\hl M\relax +\Alaligne\notes\uptext{\it senza arpeggiare}\zh{FJ}\hl M\relax |\uptext{\it espressivo e delicato}\qqh3abcd\enotes \temps\notes\rlap{\zh{EI}\hl L}\zh N|\qqh{-3}edcb\enotes % mesure 110 @@ -600,11 +608,11 @@ janvier 1990} \temps\notes\zh{IM}\hl b|\rlap{\hl d}\tleg0\qu f\sk\enotes \temps\notes|\Ilegl0b\dqh3ij\enotes % mesure 113 -\alaligne\notes\zh{IM}\hl b|\rlap{\hl d}\qqh{-6}kigf\enotes +\Alaligne\notes\zh{IM}\hl b|\rlap{\hl d}\qqh{-6}kigf\enotes \temps\notes\zh{JN}\hl c|\qqH6{=e}gkj\enotes % mesure 114 \barre\notes\zh{FJ}\hu M|\ibu0j{-6}\qh0{j=h}\tbu0\tleg0\qh0f\enotes -\temps\notes\zmidtwotext{\it crescendo}|\Ilegu0s\cl{_n}\enotes +\temps\notes\zmidtwotext{\it crescendo}|\Ilegu0q\cl{_n}\enotes \Arpg F5\notes\zh{FJ}\hu{=a}|\qqB0mljl\enotes % mesure 115 \barre\arpg I5\notes\zh{IM}\hl d|\qqh{-5}lkif\enotes @@ -625,7 +633,7 @@ janvier 1990} \zq{#1}\zq{#2}\qh1{#3}}\enotes}% %\check \staffbotmarg=5\Interligne -\alapage\vnotes 0.2\elemskip\zmidtwotext{\ppff f}|\zcharnote v{\kern -10mm +\Alapage\vnotes 0.2\elemskip\zmidtwotext{\ppff f}|\zcharnote v{\kern -10mm \moyen pi\`u vivo \rm(\metron{\qu}{110})}\enotes \motif acf\temps\motif bdg\relax % mesure 118 @@ -635,14 +643,15 @@ janvier 1990} % mesure 120 \barre\motif dgi\temps\motif bdg\relax % mesure 121 -\alaligne\motif cfh\temps\motif dgi\relax +\Alaligne\motif cfh\temps\motif dgi\relax % mesure 122 \xbarre\znotes\Soufflcr\enotes\motif {cf}hj\temps\motif cfh\relax % mesure 123 \xbarre\motif dfi\temps\motif fhj\relax % mesure 124 -\xbarre\motif fik\temps\motif dfi\relax -\generalmeter{\meterfrac 54}\relax\lchangecontext +\barre\motif fik\temps\motif dfi\relax +\generalmeter{\meterfrac 54}\relax +\changecontext \znotes\zmidtwotext{\kern -5mm\ppff ff}\enotes % mesure 125 %\check @@ -659,9 +668,9 @@ janvier 1990} \noteskipLarge\relax \motif {=e}gjegj\relax % mesure 126 -\xbarre\motif fhjfhj\relax +\barre\motif fhjfhj\relax % mesure 127 -\xbarre\notes\ibu0a0\boqh C\ibu1e0{\advance\transpose by -14\relax +\barre\notes\ibu0a0\boqh C\ibu1e0{\advance\transpose by -14\relax \zq g\rq i\qh1j\zq g\rq i\qh0j}\enotes \notes{\advance\transpose by -7\relax \zq g\rq i\qh1j\zq g\rq i\qh0j}\enotes @@ -672,32 +681,37 @@ janvier 1990} \tbl1\zq g\lq i\qb1j}\enotes %\check % mesure 128 -\alaligne\motif fikfik\relax +\Alaligne\motif fikfik\relax % mesure 129 -\xbarre\motif gi{=l}gil\relax +\barre\motif gi{=l}gil\relax % mesure 130 \generalmeter{\allabreve}\changecontext \noteskipnormal\NOtes|\octfin z1\rlap{\sforz I\zh{ce}\hl g}\relax \sforz x\zh{j=ln}\hu q\enotes \temps\NOtes\pointdorgue c\hpause|\pointdorgue o\hpause\enotes % mesure 131 -\noteskipLarge\transpose=0\relax\barre -\notes\rlap{\bohu F}\ifx\mxversion\undefined\Ilegu0g\else\Ilegu0e\fi +\noteskipLarge\transpose=0\relax +\ifx\HalfPieceCut\undefined + \barre +\else + \advance\mulooseness -2\relax + \alapage + \advance\mulooseness 3\relax +\fi +\notes\rlap{\bohu F}\isluru0e\relax \qqh3MNab|\zcharnote{-4}{\it dolce ed espressivo}\Uptext{\kern -3mm\moyen tempo I$^{\bf o}$}\enotes -\temps\notes\qqb0cbcd|\zh{hj}\hu m\uptext{\it m.s.}\enotes +\temps\notes\qqb0cbcd% +\off{\beforeruleskip}\hloff{\Tslurbreak0h}\off{-\beforeruleskip}% +|\zh{hj}\hu m\uptext{\it m.s.}\enotes % mesure 132 -\ifx\mxversion\undefined - \def\atnextline{\Invertslur0\relax\liftslur0{-2\Interligne}}% -\else - \def\atnextline{\Invertslur0\relax}% -\fi -%\show\Invertslur -%\show\liftslur -\alaligne\notes\bohu L|\qqb0edef\enotes +\Alaligne +\notes +\off{-\afterruleskip}\hloff{\Islurdbreak0h}\off{\afterruleskip}% +\bohu L|\qqb0edef\enotes \temps\notes|\rlap{\zh{il}\hu n}\qqb{-3}edcb\enotes % mesure 133 -\barre\Notes\tslur0L\bohu H|\hl c\enotes +\barre\Notes\tslur0f\bohu H|\hl c\enotes \temps\notes|\raise -5\Interligne\rlap{\soupir}\zh{lo}\hl q\enotes \temps\notes|\Ilegl0K\ibl0c1\qb0{=b}\tqb0c\enotes % mesure 134 @@ -709,7 +723,7 @@ janvier 1990} \temps\notes|\rlap{\zh{m=o}\hu q}\qqb3hijk\enotes %\check % mesure 136 -\alapage\noteskipLarge\Arpg D6\notes\zh{FJM}\hl{=a}|\rlap{\sk\sk\sk +\Alapage\noteskipLarge\Arpg D6\notes\zh{FJM}\hl{=a}|\rlap{\sk\sk\sk \ifx\mxversion\undefined\tleg0\else\tslur0a\fi}\qqb{-6}lj{=h}f\enotes \temps\arpg G6\notes\zh{IMb}\hl d|\qqb{-6}ki{_h}g\enotes %\check @@ -726,7 +740,7 @@ janvier 1990} \temps\notes\zmidtwotext{\ppff f}\boql c\sk\boql c|\qsoqb{-8}rpnj\enotes %\check % mesure 140 -\alaligne\noteskiplarge\bigaccid +\Alaligne\noteskiplarge\bigaccid \notes\zmidtwotext{\vbox{\hbox{\ppff ff \it con fuoco}\smallskip \hbox{\it e crescendo}}}\soupir|\soupir\enotes %\check @@ -744,24 +758,24 @@ janvier 1990} \temps\motif hfgh\relax %\check % mesure 141 -\xbarre\motif ighi\temps\motif jhij\relax +\barre\motif ighi\temps\motif jhij\relax % mesure 142 -\xbarre\motif kjik\temps\motif jihj\relax +\barre\motif kjik\temps\motif jihj\relax % mesure 143 -\def\scalenoteskip{0.7}\alaligne\motif ihgi\temps\motif hgfh\relax +\def\scalenoteskip{0.7}\Alaligne\motif ihgi\temps\motif hgfh\relax %\check % mesure 144 -\xbarre\motif gf{=e}g\temps\motif ffgh\relax +\barre\motif gf{=e}g\temps\motif ffgh\relax % mesure 145 -\xbarre\motif ighi\temps\motif jhij\relax +\barre\motif ighi\temps\motif jhij\relax % mesure 146 -\alaligne\motif {=k}ijk\temps\motif {=l}jkl\relax +\Alaligne\motif {=k}ijk\temps\motif {=l}jkl\relax % mesure 147 -\xbarre\motif m{_l}{_k}j\temps\motif iijk\relax +\barre\motif m{_l}{_k}j\temps\motif iijk\relax % mesure 148 -\xbarre\motif lkji\temps\motif hhij\relax +\barre\motif lkji\temps\motif hhij\relax % mesure 149 -\alaligne\motif kjik\relax +\Alaligne\motif kjik\relax %\check \def\motif#1#2#3#4#5#6#7#8{\notes\ibbu0b0{\advance\transpose by -7\relax \boqh{#1}}\sk|\qsk\sk\rlap{\soqb{#5}}\enotes @@ -772,7 +786,7 @@ janvier 1990} %\check \temps\motif j{^j}{=k}{^k}jjjj\relax % mesure 150 -\xbarre\motif {=l}{_l}{=k}{_k}jjjj\relax +\barre\motif {=l}{_l}{=k}{_k}jjjj\relax \temps\motif jihgjj{=k}{=l}\relax % mesure 151 \noteskipLarge\varaccid @@ -783,6 +797,7 @@ janvier 1990} \centerline{a piacere }\centerline{% quasi una}\centerline{cadenza}}}|\pointdorgue m\hpause\enotes +\Zalapage \transpose=-7\relax % \staffbotmarg=3\Interligne @@ -801,7 +816,7 @@ quasi una}\centerline{cadenza}}}|\pointdorgue m\hpause\enotes %\check \noteskipnormal\def\scalenoteskip{1.11}\hyphenpenalty -20\relax \transpose=0\relax -\alapage\notes\motifh8FHJMac\enotes +\barre\notes\motifh8FHJMac\enotes \temps\notes|\motifb8fhjmoq\enotes %\check % mesure 153 @@ -814,7 +829,7 @@ quasi una}\centerline{cadenza}}}|\pointdorgue m\hpause\enotes \zbarre\notes\ibbu0I{-6}\qh0H\lsf F\qh0F\lsf F\qh0F\lsf F\tqh0F\enotes %\check % mesure 154 -\alaligne +\Alaligne \transpose=-7\relax \notes\motifh8FIKMbd\enotes \zbarre\notes|\motifh8fikmpr\enotes @@ -829,7 +844,7 @@ quasi una}\centerline{cadenza}}}|\pointdorgue m\hpause\enotes \notes\nbbu0\qh0b\tbbu0\qh0M\nbbu0\qh0{=L}\tqh0M\enotes \zbarre\notes\motifh{-4}KIF{=E}FD\enotes \transpose=-7\relax -\zalaligne\notes\ibbu0I{-6}\qh0I\lsf F\qh0F\lsf F\qh0F\lsf F\tqh0F\enotes +\Zalaligne\notes\ibbu0I{-6}\qh0I\lsf F\qh0F\lsf F\qh0F\lsf F\tqh0F\enotes %\check % mesure 156 \transpose=-7\relax @@ -844,7 +859,7 @@ quasi una}\centerline{cadenza}}}|\pointdorgue m\hpause\enotes \zbarre\notes|\na l\motifb{-6}lm{_l}jf{=e}\enotes \zbarre\notes|\sforz h\ibbl0e0\qb0f\tbbl0\qb0{_e}\enotes \notes\nbbu0\qh0c\tbbu0\qh0M\nbbu0\qh0{=L}\tqh0M\enotes -\zalaligne\notes\motifh{-6}{_L}JF{=E}F{_E}\enotes +\Zalaligne\notes\motifh{-6}{_L}JF{=E}F{_E}\enotes \transpose=-7\relax \zbarre\notes\ibbu0I{-4}\qh0J\lsf F\qh0F\lsf F\qh0F\lsf F\tqh0F\enotes %\check @@ -902,7 +917,7 @@ quasi una}\centerline{cadenza}}}|\pointdorgue m\hpause\enotes \ifx\mxversion\undefined \def\everystaff{\znotes\nextstaff\octline t\enotes}\relax \fi -\zalapage +\Zalapage \ifx\mxversion\undefined\else \znotes|\ioctfinup t\enotes \fi @@ -994,12 +1009,12 @@ h|\Motif qpom\enotes \zq{c=e}\qh0i\zq{ce}\qh0i\zq{ce}\qh0i\zq{ce}\tqh0i|\Motif pon{=l}\enotes \nspace\NOtes\pointdorgue l\hpause|\pointdorgue l\hpause\toctfin\enotes \suspmorceau\def\everystaff{}\relax -\eject +\Eject %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% % finale % \transpose=0\relax\cleftoksi={{6}{0}{0}{0}}% - \eject\staffbotmarg=3\Interligne\relax -\def\interfacteur{11}% + \Eject\staffbotmarg=3\Interligne\relax +\def\atnextline{\def\interfacteur{11}}% \def\scalenoteskip{1.0}% % mesure 200 \barno=200\relax @@ -1023,7 +1038,7 @@ a tempo primo, con molta delicatezza}\soupir\enotes \temps\notes|\Ilegl0d\dqh3gh\enotes %\check % mesure 204 -\alaligne\notes\zh{Mb}\hl d|\qqh0ihgi\enotes +\Alaligne\notes\zh{Mb}\hl d|\qqh0ihgi\enotes \temps\notes\zh{Ma}\hl c|\qqh0hgfh\enotes % mesure 205 \barre\notes\zh{Mb}\lh N\hl d|\qqh0gf{=e}g\enotes @@ -1038,7 +1053,7 @@ a tempo primo, con molta delicatezza}\soupir\enotes \temps\notes\zh{ac}\hl e|\Tleg0\qu h\sk\enotes \temps\notes|\Ilegu0t\dqh3jk\enotes % mesure 208 -\alaligne\notes\zh{Nc}\hu{=e}|\na l\qqb3lmno\enotes +\Alaligne\notes\zh{Nc}\hu{=e}|\na l\qqb3lmno\enotes \temps\notes\zh{ce}\hu i|\qqb{-6}pnkj\enotes % mesure 209 \barre\nspace\notes\zh{cf}\hu{=h}|\Uptext{\it sempre \ppff p}\relax @@ -1074,7 +1089,7 @@ a tempo primo, con molta delicatezza}\soupir\enotes \xbarre\Notes\tleg0\ql a|\zh{fh}\hu j\enotes \temps\notes\Ilegu0d\dqb3Na\enotes \temps\notes\qqb0baNb|\zh{fi}\hu k\enotes% mesure 216 -\alaligne\notes\qqB0aNMa|\zh{fh}\hl j\enotes +\Alaligne\notes\qqB0aNMa|\zh{fh}\hl j\enotes \temps\notes\qqB0NM{=L}N|\zh{=eg}\hu j\enotes % mesure 217 \barre\notes\Tleg0\hl M|\zh{fh}\hu j\enotes @@ -1091,7 +1106,7 @@ a tempo primo, con molta delicatezza}\soupir\enotes \temps\notes\bohu J|\rlap{\hl M}\qqh0cbac\enotes %\check % mesure 220 -\alaligne\notes\bohu J|\rlap{\hl{=L}}\qqh0baNb\enotes +\Alaligne\notes\bohu J|\rlap{\hl{=L}}\qqh0baNb\enotes \temps\notes\bohu F\sk|\Tleg0\rlap{\ql J}\qu a\enotes \temps\notes|\Ilegl0F\dqh3Na\enotes % mesure 221 diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/pacifiqt.tex b/Master/texmf-dist/doc/generic/musixtex/examples/pacifiqt.tex new file mode 100644 index 00000000000..2077a6b8015 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/pacifiqt.tex @@ -0,0 +1,10 @@ +\ifx\mxversion\undefined + \input musixtex + \input musixcpt + \input musixsty +\fi +\musicsize=20\relax +\def\NoPageCut{\relax} +\def\HalfPieceCut{\relax} +\input c:/taupin/musixtex/scores/pacifiqn +\bye diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/partitur.tex b/Master/texmf-dist/doc/generic/musixtex/examples/partitur.tex new file mode 100644 index 00000000000..bb2288e7a7e --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/partitur.tex @@ -0,0 +1,433 @@ +% partitur.tex to demonstrate MusiXTeX's capabilities for large scores +% (c) 1997, Werner Icking + +\ifx\mxversion\undefined + \input musixtex + \fi + +% A4-width, letter-length +\hoffset-15.4mm\voffset-15.4mm +\hsize210mm\advance\hsize-20mm +\vsize11in\advance\vsize-20mm\advance\vsize-20pt + +\def\myfootline#1{% +\def\crtextde{Nicht-kommerzielle Vervielf\"altigung erw\"unscht.}% +\def\crtexten{Non-commercial copying welcome.}% +\def\cryear{#1}\setfootline} + +\def\setfootline{\footline={\ifodd\pageno% +{\rlap{\sevenrm\copyright~\cryear, Werner Icking, D-53721 Siegburg, Farnweg 28}% + \hfill\folio\hfill + \llap{\sevenrm\crtextde}}% +\else +{\rlap{\sevenrm\copyright~\cryear, Werner.Icking@gmd.de}% + \hfill\folio\hfill + \llap{\sevenrm\crtexten}}% +\fi}} +\myfootline{1997} + +\input musixmad + +\startmuflex + +\arithmeticskipscale +\let\ni\nextinstrument +\let\ns\nextstaff + +%= Example 1 ============================================================ + +\centerline{\BIGtype C}\par\medskip + +\parindent 90pt + +\instrumentnumber{12} + +\generalmeter{\allabreve} +\generalsignature 0 + +\groupbottom11 +\setstaffs11\setclef1\bass \setname1{Contrabassi} +\setstaffs21\setclef2\bass \setname2{Violoncelli} +\setstaffs31\setclef3\alto \setname3{Viole} +\setstaffs42\setclef4{\treble\treble} \setname4{\vbox{\hbox{Violini I}% + \vskip 6\Interligne\hbox{Violini II}}} +\grouptop14 +\setstaffs52\setclef5{\treble\treble} \setname5{Celesta} +\groupbottom26 +\setstaffs61\setclef6\treble\setclefsymbol6\empty + \setlines61 \setname6{Batteria} +\setstaffs71\setclef7\treble \setname7{Silofono} +\setstaffs81\setclef8\treble \setname8{3 Timpani} +\grouptop28 + +\groupbottom39 +\setstaffs91\setclef9\bass \setname9{Tuba} +\setstaffs{10}1\setclef{10}\bass \setname{10}{3 Tromboni} +\setstaffs{11}1\setclef{11}\treble \setname{11}{3 Trombe in Do} +\setstaffs{12}2\setclef{12}{\treble\treble} + \setsign{12}{-1} \setname{12}{4 Corni in Fa} +\grouptop3{12} + +\systemnumbers\startpiece\addspace\afterruleskip +\Notes \qa{CDEF}&\qa{CDEF}&\qa{`cdef}&\qa{cdef}|\qa{cdef}\ni + \qa{cdef}|\qa{cdef}\ni + \ni\ni\ni + \qa{CDEF}&\qa{CDEF}&\qa{cdef}\ni + \transpose3\qa{cdef}|\transpose3\qa{cdef}\en +\def\atnextbar{% +\znotes&&&&&\lower2\internote\hbox{\centerpause}&\centerpause&\centerpause&\en}% +\generalmeter{\meterfrac34}\changecontext +\Notes \qa{G'AB}&\qa{G'AB}&\qa{`g'ab}&\qa{g'ab}|\qa{g'ab}\ni + \qa{g'ab}|\qa{g'ab}\ni + \ni\ni\ni + \qa{G'AB}&\qa{G'AB}&\qa{g'ab}\ni + \transpose3\qa{g'ab}|\transpose3\qa{g'ab}\en +\def\atnextbar{% +\znotes&&&&&\lower2\internote\hbox{\centerpause}&\centerpause&\centerpause&\en}% +\generalmeter{\meterfrac44}\changecontext +\NOTes \wh{'C}&\wh{'C}&\wh{c}&\wh{'c}|\wh{'c}\ni + \wh{'c}|\wh{'c}\ni + \ni\ni\ni + \wh{'C}&\wh{'C}&\wh{'c}\ni + \transpose3\wh{'c}|\transpose3\wh{'c}\en +\def\atnextbar{% +\znotes&&&&&\lower2\internote\hbox{\centerpause}&\centerpause&\centerpause&\en}% +\setdoubleBAR\stoppiece + +\vfill\eject + +%= Example 2 ============================================================ + +\def\namespace{14mm} % provide space for instrument names +\advance\hoffset\namespace\advance\hsize-\namespace + +\centerline{\BIGtype Sinfonie D-Dur} \par\medskip +\centerline{\BIgtype Haffner Sinfonie} \par\medskip +\centerline{\Bigtype K.V. 385} \par\medskip +\rightline{\medtype Wolfgang Amadeus Mozart (1756--1791)}\par\bigskip + +\instrumentnumber{10}\resetlayout + +\interinstrument 1\Interligne + +\generalmeter{\meterC} +\generalsignature 2 + +\parindent 60pt + +\groupbottom11 +\setstaffs11\setclef1\bass \setname1{\vbox{\hbox{Violoncelli e} + \hbox{Contrabassi}}} +\setstaffs21\setclef2\alto \setname2{Viole} +\setstaffs32\setclef3{\treble\treble} \setname3{\vbox{\hbox{Violini I} + \vskip 6\Interligne\hbox{Violini II}}} +\setinterinstrument3{3\Interligne} +\grouptop13 + +\setstaffs41\setclef4\bass\setsign40 \setname4{Timpani} +\setinterinstrument4{3\Interligne} + +\groupbottom25 +\setstaffs51\setclef5\treble\setsign50 \setname5{\vbox{\hbox{2 Trombe}\hbox{~~~in Re}}} +\setstaffs61\setclef6\treble\setsign60 \setname6{\vbox{\hbox{2 Corni}\hbox{~~~in Re}}} +\setinterinstrument6{3\Interligne} +\grouptop26 + +\groupbottom37 +\setstaffs71\setclef7\bass \setname7{2 Fagotti} +\setstaffs81\setclef8\treble\setsign8{-1}\setname8{\vbox{\hbox{2 Clarinetti}\hbox{~~~in La}}} +\setstaffs91\setclef9\treble \setname9{2 Oboi} +\setstaffs{10}1\setclef{10}\treble \setname{10}{2 Flauti} +\grouptop3{10} +\stafftopmarg 8\Interligne +\staffbotmarg 5\Interligne + +\def\dsp{\pt 5\ds} +\def\TR#1{\zcharnote{#1}{\it tr}} +\def\adue{\zcharnote9{\llap{a}2}} +\def\dyn#1#2{\lower4\internote\hbox{\zcharnote{-#1}{#2}}} +\def\sFp{\sF\ppff p}% + +\afterruleskip0.8\afterruleskip +\beforeruleskip0.2\afterruleskip + +\nobarnumbers\startpiece\addspace\afterruleskip\systemnumbers +\makeatletter +\def\everystaff{\kern-\clef@skip\kern-\namespace\znotes + \zcharnote0{\vbox{\hbox{Vlc. e}\hbox{Cb.}}}\ni + \zcharnote2{Vle.}\ni + \zcharnote2{Vl.II}|\zcharnote4{Vl.I}\ni + \zcharnote2{Timp.}\ni + \zcharnote0{\vbox{\hbox{2 Tr.}\hbox{(Re)}}}\ni + \zcharnote0{\vbox{\hbox{2 Cor.}\hbox{(Re)}}}\ni% + \zcharnote2{2 Fg.}\ni + \zcharnote0{\vbox{\hbox{2 Cl.}\hbox{(Fa)}}}\ni + \zcharnote2{2 Ob.}\ni + \zcharnote2{2 Fl.}% + \en\kern\clef@skip\kern\namespace}% +\makeatother +\NOTEs \dyn0\f\wh{'D}&\dyn0\f\wh d\ni + \dyn2\f\roffset{1.4}{\zwh d}\wh d|\dyn2\f\roffset{1.4}{\zwh d}\zwh d\ni + \dyn0\f\Trille9{1.6}\wh{'D}\ni + \dyn3\f\adue\transpose-1\wh d&\dyn3\f\adue\transpose-1\wh d\ni + \dyn0\f\adue\wh{'D}&\dyn0\f\adue\transpose2\wh d\ni + \dyn0\f\adue\wh{'d}\ni + \loffset{5}{\zcharnote{'''b}{\medtype\bf Allegro con spirito}}% + \dyn0\f\adue\wh{```'d}\en +\bar\addspace{-.5\afterruleskip}% +\notes \ni\ni + \multnoteskip{.7}\tinynotesize\ibbbu0{'b}3\islurd0{`d}\qb0d\tslur0{'a}\tbu0\qb0d\ns + \multnoteskip{.7}\tinynotesize\ibbbu1{'b}3\islurd0{`d}\qb1d\tslur0{'a}\tbu1\qb1d\en + \Notes \isluru0{''D}\ha D&\isluru1{'d}\ha d\ni + \isluru2{''d}\ha d|\isluru3{''d}\ha d\ni + \qa{'D}\ni + \transpose-1\isluru4{'d}\ha d&\transpose-1\isluru5{'d}\ha d\ni + \isluru6{''D}\ha D&\transpose2\isluru7{'d}\ha d\ni + \isluru8{''d}\ha d&\isluru9{''d}\ha d\en +\NOtes &&&\qp\en +\NOtes \tslur0{''D}\ppt D\qa D&\tslur1{'d}\ppt d\qa d\ni + \tslur2{''d}\ppt d\qa d|\tslur3{''d}\ppt d\qa d\ni + \hpause\ni + \transpose-1\tslur4{'d}\qa d&\transpose-1\tslur5{'d}\qa d\ni + \tslur6{''D}\ppt D\qa D&\transpose2\tslur7{'d}\ppt d\qa d\ni + \tslur8{''d}\ppt d\qa d&\tslur9{''d}\ppt d\qa d\en +\Notesp &&&&\qp&\qp\en +\notes \cca{'D}&\cca d&\cca d|\cca d\ni + \ni + \ni\ni + \cca{'D}&\transpose2\cca d&\cca{'d}&\cca{'d}\en +\bar +\NOtes \lpz{'C}\qu C\upz{'C}\qa C\qp&\upz c\ql c\upz{'c}\ql c\qp\ni + \lpz c\qu c\upz{''c}\ql c\qp|\lpz c\qu c\upz{''c}\ql c\qp\ni + \lpz{'A}\qu A\lpz A\qu A\hpause\ni + \transpose-1\lpz{'a}\qu a\lpz a\qu a\hpause\ni + \transpose-1\lpz{'a}\qu a\lpz a\qu a\hpause\ni + \lpz{'C}\qu C\upz{'C}\qa C\qp&\transpose2\lpz c\qu c\upz{'c}\ql c\qp\ni + \upz{'c}\ql c\upz{'c}\ql c\qp&\upz{'c}\ql c\upz{'c}\ql c\qp\en +\Notesp \dsp&\dsp&\dsp|\dsp\ni + \ni + \ni\ni + \dsp&\dsp&\dsp&\dsp\en +\notes \cca{'C}&\cca c&\cca c|\cca c\ni + \ni + \ni\ni + \cca{'C}&\transpose2\cca c&\cca{'c}&\cca{'c}\en +\bar +\NOtes \qa{'B}&\qa b&\qa b|\qa b\ni + \qa{'D}\ni + \transpose-1\zq d\qu{'d}&\transpose-1\zq d\qu{'d}\ni + \qa{'B}&\transpose2\qa b&\qa{'b}&\qa{'b}\en +\Notesp \ibu0{'B}0\qbp0B&\ibu1b0\qbp1b&\ibu2b0\qbp2b|\ibu3b0\qbp3b\ni + \ibl4{'D}0\qbp4D\ni + \transpose-1\zqp d\ibu5{'d}0\qbp5d\ni + \transpose-1\zqp d\ibu6{'d}0\qbp6d\ni + \ibu7{'B}0\qbp7B&\transpose2\ibu8b0\qbp8b\ni + \ibl9{'b}0\qbp9b&\ibl{10}{'b}0\qbp{10}b\en +\notes \tbbu0\tbu0\qb0{'B}&\tbbu1\tbu1\qb1b\ni + \tbbu2\tbu2\qb2b|\tbbu3\tbu3\qb3b\ni + \tbbl4\tbl4\qb4{'D}\ni + \transpose-1\zq d\tbbu5\tbu5\qb5{'d}\ni + \transpose-1\zq d\tbbu6\tbu6\qb6{'d}\ni + \tbbu7\tbu7\qb7{'B}&\transpose2\tbbu8\tbu8\qb8b\ni + \tbbl9\tbl9\qb9{'b}&\tbbl{10}\tbl{10}\qb{10}{'b}\en +\NOtes \TR{10}\islurd0{'B}\pt B\qa B&\TR{11}\islurd1b\pt b\qa b\ni + \TR9\islurd2b\pt b\qa b|\TR9\islurd3b\pt b\qa b\ni + \qa{'D}\ni + \transpose-1\zq d\qu{'d}&\transpose-1\zq d\qu{'d}\ni + \TR{10}\islurd7{'B}\pt B\qa B&\transpose2\TR9\islurd8b\pt b\qa b\ni + \TR9\isluru9{'b}\pt b\qa b&\TR9\isluru{10}{'b}\pt b\qa b\en +\Notes \ni\ni\ni + \qa{'D}\ni + \transpose-1\zq d\qu{'d}&\transpose-1\zq d\qu{'d}\en +\notes \ibbu0{'A}3\qb0A\tslur0B\tbu0\qb0B\ni + \ibbu1a3\qb1a\tslur1b\tbu1\qb1b\ni + \ibbu2a3\qb2a\tslur2b\tbu2\qb2b|\ibbu3a3\qb3a\tslur3b\tbu3\qb3b\ni + \ni + \ni\ni + \ibbu7{'A}3\qb7A\tslur7B\tbu7\qb7B\ni + \transpose2\ibbu8a3\qb8a\tslur8b\tbu8\qb8b\ni + \ibbu9{'a}3\qb9a\tslur9{'b}\tbu9\qb9{`b}\ni + \ibbu{10}{'a}3\qb{10}a\tslur{10}{'b}\tbu{10}\qb{10}{`b}\en +\def\atnextline{% + \setinterinstrument3{8\Interligne}% + \setinterinstrument4{8\Interligne}% + \setinterinstrument6{8\Interligne}% + \stafftopmarg 11\Interligne + \staffbotmarg 8\Interligne }% +\barno200\alaligne +\NOtes \ha{'D}&\ha d\ni + \loffset{1.8}{\isluru2{'d}}\tslur2d\pt d\qa d\ns + \loffset{1.8}{\isluru3{'d}}\tslur3d\pt d\qa d\ni + \qa{'D}\ni + \transpose-1\adue\ha d&\transpose-1\adue\ha d\ni + \adue\ha{'D}&\transpose2\zh{`d}\hu{'d}\ni + \adue\ha{'d}&\adue\ha{'d}\en +\Notes &&&\qp\en +\notes \ni\ni + \ibbl2{'d}2\isluru2d\qb2d\tbl2\qb2e\ns + \ibbl3{'d}2\isluru3d\qb3d\tbl3\qb3e\en +\Notes \qa{'F}&\qa f\ni + \ibl2{'d}2\tslur2f\qb2f|\ibl3{'d}2\tslur3f\qb3f\ni + \hpause\ni + \transpose-1\qa f&\transpose-1\qa f\ni + \qa{'F}&\transpose2\zq{`f}\qu{'f}\ni + \qa{'f}&\qa{'f}\en +\notes \ni\ni + \nbbl2\isluru2{'f}\qb2f\tbl2\qb2g\ns + \nbbl3\isluru3{'f}\qb3f\tbl3\qb3g\en +\Notes \qa{''A}&\qa{'a}\ni + \ibl2{'f}2\tslur2{'a}\qb2a|\ibl3{'f}2\tslur3{'a}\qb3a\ni + \ni + \transpose-1\qa{'a}&\transpose-1\qa{'a}\ni + \qa{''A}&\transpose2\zq a\qu{'a}\ni + \qa{''a}&\qa{''a}\en +\notes \ni\ni + \multnoteskip{.707}\nbbl2\triolet d\isluru2{''a}\qb2{ab}\tbl2\qb2c\ns + \multnoteskip{.707}\nbbl3\triolet d\isluru3{''a}\qb3{ab}\tbl3\qb3c\en +\bar +\NOtes \qa{''DDA`F}&\qa{'dda`f}\ni + \tslur2{''d}\qa d\zq{``d'a}\ql f\zq{`d'a}\ql f\zq{`d'a}\ql f\ns + \tslur3{''d}\qa d\zq{``d'd}\ql{'d}\zq{``d'd}\ql{'d}\zq{``d'd}\ql{'d}\ni + \qa{'DDDD}\ni + \transpose-1\qa{'d}\zq{`f}\qu{'a}\zq{`f}\qu{'a}\zq{`f}\qu{'a}\ni + \transpose-1\qa{'d}\zq{`d}\qu{'d}\zq{`d}\qu{'d}\zq{`d}\qu{'d}\ni + \qa{''DDA`F}&\transpose2\zq d\qa{'d}\zq{``f}\qu{'a}\zq{`f}\qu{'a}\zq{`f}\qu{'a}\ni + \qa{''d}\zq{`d}\ql f\zq d\ql f\zq d\ql f\ni + \qa{''d}\zq{`f}\ql{'d}\zq{`f}\ql{'d}\zq{`f}\ql{'d}\en +\bar +\NOTes \ha{'DD}&\ha{dd}\ni + \zq{d'a}\hl f\zq{`d'a}\hl f|\zq{d'd}\hl{'d}\zq{``d'd}\hl{'d}\ni + \ha{'DD}\ni + \transpose-1\zh f\hu{'a}\zh{`f}\hu{'a}\ni + \transpose-1\zh d\hu{'d}\zh{`d}\hu{'d}\ni + \ha{'DD}&\transpose2\zh{`f}\hu{'a}\zh{`f}\hu{'a}\ni + \zh{'d}\hl f\zh d\hl f&\zh{'f}\hl{'d}\zh{`f}\hl{'d}\en +\bar +\NOTes \ha{'D}\hpause&\ha{d}\hpause\ni + \zq{d'a}\hl f\hpause|\zq{d'd}\hl{'d}\hpause\ni + \ha{'D}\hpause\ni + \transpose-1\zh f\hu{'a}\hpause&\transpose-1\zh d\hu{'d}\hpause\ni + \ha{'D}\hpause&\transpose2\zh{`f}\ha{'a}\hpause\ni + \zh{'d}\ha f\hpause&\zh{'f}\ha{'d}\hpause\en +\Endpiece\def\everystaff{} +\vfill\eject + +\instrumentnumber{6}\resetlayout + +\interinstrument 1\Interligne + +\generalmeter{\meterfrac 2 4} +\generalsignature 1 + +\parindent 60pt + +\groupbottom11 +\setstaffs11\setclef1\bass \setname1{\vbox{\hbox{Violoncelli e} + \hbox{Contrabassi}}} +\setinterinstrument1{0\Interligne} +\setstaffs21\setclef2\alto \setname2{Viole} +\setinterinstrument2{1\Interligne} +\setstaffs32\setclef3{\treble\treble} \setname3{\vbox{\hbox{Violini I} + \vskip 6\Interligne\hbox{Violini II}}} +\setinterinstrument3{2\Interligne} +\grouptop13 + +\groupbottom24 +\setstaffs41\setclef4\treble\setsign60 \setname4{\vbox{\hbox{2 Corni}\hbox{~~~in Sol}}} +\setinterinstrument4{1\Interligne} +\grouptop24 + +\groupbottom35 +\setstaffs51\setclef5\bass \setname5{2 Fagotti} +\setinterinstrument5{1\Interligne} +\setstaffs61\setclef6\treble \setname6{2 Oboi} +\grouptop36 + +\nobarnumbers\startpiece\addspace\afterruleskip\systemnumbers +\makeatletter +\newif\ifstaffseparator\staffseparatortrue +\def\everystaff{\kern-\clef@skip\kern-\namespace\znotes + \zcharnote0{\vbox{\hbox{Vlc. e}\hbox{Cb.}}}\ni + \zcharnote2{Vle.}\ni + \zcharnote2{Vl.II}|\zcharnote4{Vl.I}\ni + \zcharnote0{\vbox{\hbox{2 Cor.}\hbox{(Sol)}}}\ni + \zcharnote2{2 Fg.}\ni + \zcharnote2{2 Ob.}% + \ifstaffseparator\zcharnote{20}{\vbox{\hbox to 8mm{\leaders\hrule height 3pt\hfill}% + \vskip-7pt\hbox to 8mm{\leaders\hrule height 3pt\hfill}}}% + \else\staffseparatortrue\fi + \en\kern\clef@skip\kern\namespace}% +\makeatother +\notes \dyn0\p\qa{'G}&\dyn0\p\qa g\ni + \loffset{1.5}{\dyn4\p}\ibbu2c0\lpz{`g}\qb2g\lpz{'b}\qb2b\lpz d\qb2d\tbu2\lpz b\qb2b\ns + \dyn0\p\roffset{0.5}{\isluru3g}\qa g\ni + \dyn2\p\transpose-4\zh g\hu{'g}\ni + \dyn0\p\zh{''B}\isluru5D\hl D\ni + \loffset{5}{\zcharnote{''b}{\medtype\bf Andante}}% + \roffset{0.3}{\dyn1\p}\zhl{``g}\hu g\en +\notes \qp&\qp\ni + \ibbu2c0\lpz{`g}\qb2g\lpz{'b}\qb2b\lpz d\qb2d\tbu2\lpz b\qb2b\ns + \ibl3{'b}2\tslur3b\qbp3{b**}\tbbl3\tbl3\upz d\qb3d\en +\bar +\notes \dyn1\sF\qa{'D}&\dyn0\sF\qa d\ni + \dyn6\sF\ibbu2d0\lpz a\qb2a\lpz c\qb2c\lpz f\qb2f\tbu2\lpz c\qb2c\ns + \dyn0\sF\pt{'d}\qa d\ni + \dyn6\sFp\transpose-4\zh d\hu{'d}\ni + \dyn0\sFp\loff{\zh{''C}}\tslur5D\hl D\ni + \dyn0\sFp\zh f\hu{'a}\en +\notes \qp&\qp\ni + \ibbu2d0\lpz a\qb2a\lpz c\qb2c\lpz f\qb2f\tbu2\lpz c\qb2c\ns + \sk\sk\dyn2\p\multnoteskip{.667}\ibbl3{'d}{-2}\triolet d\qb3{cb}\tbl3\qb3a\en +\bar +\notes \dyn0\p\ibl0{'G}{-1}\upz G\qb0{G*}\upz{'B}\qb0{B*}\upz D\qb0{D*}\tbl0\upz{`D}\qb0{D*}\ni + \dyn1\p\ibl1d0\upz d\qb1{d*}\upz d\qb1{d*}\upz d\qb1{d*}\tbl1\upz f\qb1{f*}\ni + \dyn4\p\ibbu2e0\lpz b\qb2b\lpz d\qb2d\lpz g\qb2g\tbu2\lpz d\qb2d% + \ibbu2c0\lpz b\qb2b\lpz d\qb2d\lpz c\qb2c\tbu2\lpz a\qb2a\ns + \ibu3g1\lpz g\qb3{g*}\lpz g\qb3{g*}\lpz g\qb3{g*}\tbu3\lpz{'a}\qb3{a*}\en +\def\atnextbar{\znotes&&&\centerpause&\centerpause&\centerpause\en}\alaligne +\notes \slur{'G}Bu4\qa{G***}\ca{`G*}\ds\ni + \slur fgu4\qa{f***}\ca{g*}\ds\ni + \ibbu2c0\lpz a\qb2a\lpz c\qb2c\lpz d\qb2d\tbu2\lpz c\qb2c% + \ibbu2b0\lpz{`g}\qb2g\lpz{'b}\qb2b\lpz d\qb2d\tbu2\lpz b\qb2b\ns + \ibu3{'a}0\slur aad3\qbp3{a**}\tbbu3\tbu3\qb3{^a}\ca{b*}\ds\en +\def\atnextbar{\znotes&&&\centerpause&\centerpause&\centerpause\en}\bar +\notes \ds\dyn3\f\ibbl0{'F}{-3}\qb0{GE}\tbl0\qb0C\qa{`G}\ni + \ds\dyn2\f\ibbl0f{-3}\qb0{ge}\tbl0\qb0c\qa{`g}\ni + \dyn5\f\ibbu2e0\lpz c\qb2c\lpz e\qb2e\lpz g\qb2g\tbu2\lpz e\qb2e% + \dyn5\p\ibbu2e0\lpz c\qb2c\lpz e\qb2e\lpz g\qb2g\tbu2\lpz e\qb2e\ns + \roffset{0.3}{\dyn1\f}\zq g\zq{'c}\ql{e***}\qs\multnoteskip{0.5}% + \tinynotesize\slur fgd1\grcu f\normalnotesize\dyn0\p\ibbl3g0\qb3g% + \tinynotesize\slur fgd1\grcu f\normalnotesize\qb3g% + \tinynotesize\slur fgd1\grcu f\normalnotesize\tbl3\qb3g\ni + \dyn4\sFp\transpose-4\islurd4g\zh g\roffset{0.5}{\isluru5{'g}}\hu g\ni + \dyn0\sFp\islurd6{''C}\zh C\isluru7E\hl E\ni + \dyn0\sFp\islurd8{'c}\zh c\isluru9e\hl e\en +\bar +\notes \ni\ni + \ibbu2e0\lpz c\qb2c\lpz e\qb2e\lpz g\qb2g\tbu2\lpz e\qb2e% + \ibbu2e0\lpz c\qb2c\lpz e\qb2e\lpz g\qb2g\tbu2\lpz e\qb2e\ns + \ibbl3{''b}{-3}\slur cau1\qb3c\tbl3\qb3{`g}\qs\TR{'b}\cca{`g}% + \ibbl3{'b}{-3}\slur cau1\qb3c\qb3{`g}\slur geu1\qb3g\tbl3\qb3e\ni + \transpose-4\tslur4g\islurd4g\zh g\tslur5{'g}\roffset{0.5}{\isluru5g}\hu g\ni + \loffset{0.5}{\tslur6{''C}}\zh C\loffset{0.5}{\tslur7E}\hl E\ni + \loffset{0.5}{\tslur8{'c}}\zh c\loffset{0.5}{\tslur9e}\hl e\en +\def\atnextbar{\znotes\centerpause&\centerpause\en}\bar +\notes \ds\dyn3\f\ibbl0{'F}{-3}\qb0{GD}\tbl0\qb0B\qa{`G}\ni + \ds\dyn2\f\ibbl0f{-3}\qb0{gd}\tbl0\qb0b\qa{`g}\ni + \dyn5\f\ibbu2e0\lpz b\qb2b\lpz d\qb2d\lpz g\qb2g\tbu2\lpz d\qb2d% + \dyn5\p\ibbu2e0\lpz b\qb2b\lpz d\qb2d\lpz g\qb2g\tbu2\lpz d\qb2d\ns + \dyn6\f\zq{`g}\zq{'d}\qu{'d***}\qs\multnoteskip{0.5}% + \tinynotesize\slur fgd1\grcu f\normalnotesize\dyn0\p\ibbl3g0\qb3g% + \tinynotesize\slur fgd1\grcu f\normalnotesize\qb3g% + \tinynotesize\slur fgd1\grcu f\normalnotesize\tbl3\qb3g\ni + \dyn4\sFp\transpose-4\tslur4g\islurd4g\zh g% + \tslur5{'g}\roffset{0.5}{\isluru5g}\hu{g*******}% + \tslur4{`g}\tslur5{'g}\ni + \dyn0\sFp\islurd6{''B}\zh B\isluru7D\hl{D*******}\tslur6B\tslur7D\ni + \dyn1\sFp\islurd8{'b}\zh b\isluru9d\hl{d*******}\tslur8b\tslur9d\en +\endpiece\def\everystaff{} + +\vfill\eject + +\endmuflex +\bye diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/pslurvgap.tex b/Master/texmf-dist/doc/generic/musixtex/examples/pslurvgap.tex new file mode 100644 index 00000000000..216f3d183de --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/pslurvgap.tex @@ -0,0 +1,21 @@ +\input musixtex +\input musixps + +\footline={} + \Nosluradjust \Notieadjust + +\startmuflex \nobarnumbers + +\startextract\NOTes\multnoteskip3\isluru0c\ql c\tslur0s\ql s\enotes + \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0z\ql z\enotes\endextract + + \instrumentnumber{1} \generalmeter{\meterfrac34} +\startextract +\NOTes\isluru0c\ql c\enotes\notes\tslur0j\ql j\enotes + \bar\NOTes\isluru0c\ql c\enotes\notes\tslur0n\ql n\enotes + \NOTes\isluru0c\ql c\enotes\notes\tslur0s\ql s\enotes + \bar\NOTes\isluru0c\ql c\enotes\notes\tslur0z\ql z\enotes + \endextract + +\endmuflex +\end diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/quod.tex b/Master/texmf-dist/doc/generic/musixtex/examples/quod.tex new file mode 100644 index 00000000000..8b3b39ad134 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/quod.tex @@ -0,0 +1,188 @@ +\input musixtex.tex +\input musixsty.tex +% (c) Copyright R. D. Tennent 2010 +% Licensed under a Creative Commons Attribution--Share Alike license. + +\def\tr#1{\zcharnote{#1}{\ppff tr}}% +\def\pince#1{\shake{#1}}% +\vsize9.75in +\voffset-0.5in +\hsize7.0in +\hoffset-0.25in +\smallmusicsize +\bigaccid +\advance\parindent by 10pt +\def\writebarno{\llap{\ninebf\the\barno\barnoadd}}% +\def\raisebarno{4\internote}% +\def\shiftbarno{1.5\Interligne}% +\nobarnumbers +\geometricskipscale + +\def\omit#1{}% + +\def\tql#1#2{\tbl{#1}\qb{#1}{#2}} +\def\tqu#1#2{\tbu{#1}\qb{#1}{#2}} +\def\nbbqu#1#2{\nbbu{#1}\qb{#1}{#2}} +\def\nbbql#1#2{\nbbl{#1}\qb{#1}{#2}} + +\def\nqql#1#2{\roffset{0.25}{\tbbl{#1}\tbbl{#1}\qb{#1}{#2}}} +\def\nqqu#1#2{\roffset{0.25}{\tbbu{#1}\tbbu{#1}\qb{#1}{#2}}} +\def\tqql#1#2{\roffset{0.25}{\tbbl{#1}\tbl{#1}\qb{#1}{#2}}} +\def\tqqu#1#2{\roffset{0.25}{\tbbu{#1}\tbu{#1}\qb{#1}{#2}}} +\def\tqqql#1#2{\roffset{0.25}{\tbbbl{#1}\tbl{#1}\qb{#1}{#2}}} +\def\tqqqu#1#2{\roffset{0.25}{\tbbbu{#1}\tbu{#1}\qb{#1}{#2}}} + +\instrumentnumber4 +\setclef1\bass\setbassclefsymbol1\bassoct +\setclef4\treble\settrebleclefsymbol4\trebleoct +\catcodesmusic +\generalsignature{+1} +\generalmeter\meterC +\setname1{B} +\setname2{T} +\setname3{A} +\setname4{S} +\songtop4 +\songbottom1 +\fulltitle{Quodlibet} +\subtitle{Variation 30 of the Goldberg Variations for Clavier} +\title{Quodlibet} +\author{J. S. Bach (1685-1750)} +\shortauthor{J. S. Bach} +\othermention{Arranged for Recorders by R. D. Tennent} +\maketitle +\startbarno=0 +\nobarnumbers +\stafftopmarg=4.0\Interligne% +\staffbotmarg=4.0\Interligne% +%\setinterinstrument3{2.5\internote}% +\startpiece\addspace\afterruleskip% +\systemnumbers% +\Notes\ds&\cu d&\ds&\ds\en +\bar%1 +\Notes\hl N&\ibu1g2\qb1{ghi}\tqu1j&&\hpause\en +\Notes\hl M&\ibl1k{-2}\qb1k\en +\notes&\nbbl1\qb1j\tql1i&&\qp\en +\Notes&\ibu1h0\qb1h&&\ds\en +\notes&\nbbu1\qb1g\tqu1h&&\cu d\en +\def\atnextbar{\znotes&&\centerpause&&\en}% +\bar%2 +\Notes\hl L&\ibu1i{-2}\qb1i\tqu1h&\ql n&\ibu3g2\qb3{gh}\en +\Notes&\itied1g\qu g&\ql n&\qb3i\tqu3j\en +\Notes\ql{.K}&\ttie1\qu g&\ql o&\ibl3k{-2}\qb3k\en +\notes&&&\nbbl3\qb3j\tql3i\en +\Notes&\ibu1f0\pince{n}\qb1f&\cl o&\cu h\en +\notes\cu J&\nbbu1\qb1e\tqu1f&\ds&\ds\en +\bar%3 +\Notes\hu I&\qu g&\ibl2n{-1}\qb2{no}&\ql k\en +\Notes&\ds\cl k&\qb2{n}\tql2{=m}&\ql k\en +\Notes\hu J&\ibu1j{-2}\qb1{ji}&\ibl2j{0}\qb2{lk}&\ql l\en +\Notes&\qb1h\tqu1g&\qb2j\tql2p&\ql l\en +\bar%4 +\Notes\hl K&\itied1f\pince{n}\qu f&\ibl2o{-1}\qb2{on}&\ibl3k{-1}\qb3{kl}\en +\notes&\ttie1\ibbu1e{-2}\qb1f\tbbu1\qb1e&\qb2o&\qb3k\en +%\vnotes1.5\elemskip&\nbbbu1\qb1e\tbbu1\qb1f&&\en +\Notes&\itied1d\tqu1d&\tql2m&\tql3j\en +\Notes\qu G&\ttie1\qu d&\ibl2n{-2}\qb2n\tql2m&\ibu3h{-1}\pince{p}\qb3i\tqu3h\en +\Notes\ds&\qp&\ibl2n{-5}\qb2n&\qu g\en +\notes\ibbl0b{-1}\qb0b\tql0a&&\tql2k&\en +\bar%5 +\Notes\ibl0M0\qb0N&\ql n&\ibl2n2\qb2n&\hpause\en +\notes\nbbl0\qb0M\tql0N&&\qb2o&\en +\Notes\ibl0K0\qb0L&\ql n&\qb2p&\en +\notes\nbbl0\qb0K\tql0L&&\tql2q&\en +\Notes\ql{.M}&\ql o&\ibl2r{-2}\qb2r&\qp\en +\notes&&\nbbl2\qb2q\tql2p&\en +\Notes\sk\cu I&\ql o&\ibl2o6\qb2o\itieu2r\tql2r&\ds\cl k\en +\bar%6 +\Notes\ql{.L}&\ibl1n{-1}\qb1{no}&\ttie2\ibl2r{-2}\qb2r\tql2q&\ibl3n{-2}\qb3{nm}\en +\Notes&\qb1n&\ql p&\qb3l\en +\notes\ibbl0M2\qb0M\tql0N&\tql1m&&\tql3k\en +\Notes\itieu0a\ql a&\ibl1l{-2}\qb1l&\ql{.o}&\pince{n}\ibl3i0\qb3{^j}\en +\notes&\tql1k&&\nbbl3\qb3i\tql3j\en +\notes\ttie0\ibbl0a{-2}\qb0{aN}&\cl{^j}&&\cu h\en +\notes\qb0M\tql0L&\ds&\ibbl2i2\qb2i\qsk\tql2{^j}&\ds\en +\bar%7 +\Notes\ql M&\ibu1g0\qb1{fg}&\ibl2k0\qb2{kl}&\qu h\en +\Notes\ql K&\qb1h\tqu1f&\qb2m\tql2k&\qu h\en +\Notes\ql N&\ibu1g{-2}\qb1{gf}&\ibl2i4\qb2{ik}&\ql i\en +\Notes\qu G&\qb1e\tqu1d&\qb2n\tql2m&\ql i\en +\bar%8 +\Notes\qu{.H}&\ibu1c4\qb1{^cd}&\ibl2l{-1}\qb2{.l}\tqql2k\isluru2j&\ibu3i{-1}\qb3{hi}\en +\notes&\qb1e&\tslur2j\ibbl2j0\qb2k\hqsk\tbbl2\qb2{^j}&\qb3h\en +\Notes\cu{^J}&\itied1h\tqu1h&\itieu2l\tql2l&\tqu3g\en +\notes\ql K&\ttie1\ibu1h{-1}\qb1h&\ttie2\ibbl2l{-1}\qb2{lk}&\ibu3f{-1}\qb3f\en +\notes&\tqu1g&\qb2l\tql2j&\tqu3e\en +\Notes\cl K&\cu f&\cl k&\cu d\en +%\nobarnumbers% +%\setrightrepeat% +%\alaligne% +\advance\barno by -1% +%\leftrepeat% +%\systemnumbers% +\leftrightrepeat +%\advance\barno by -1% +\Notes\ds&\cl m&\ds&\cl o\en +\bar%9 +%\notes&&&\lcharnote q{\ninebf \the\barno}\enotes +\Notes\ql d\sk\ql c&\ibl1k0\qb1{kmk}\tql1{m}&\ql o\sk\ql o&\ibl3m0\qb3{mom}\tql3o\en +\Notes\ql b&\ibl1k0\qb1n&\ql p&\ibl3k2\qb3k\en +\notes&\qb1k&&\nbbl3\qb3l\tql3m\en +\Notes\ql N&\qb1k\tql1n&\ql p&\ibl3n{-4}\qb3n\tql3l\en +\bar%10 +\Notes\ibl0b{-1}\qb0{cbc}\tql0a&\cl l\ds\qp&\ibl2o{-1}\qb2{opo}\tql2n&\ibl3o{-2}\qb3{onm}\tql3l\en +\Notes\ql{.b}&\ql m&\ibl2m{-2}\qb2m&\ibl3j0\qb3{^k}\en +\notes&&\tql2l&\nbbl3\qb3{^j}\tql3k\en +\Notes\sk\cl a&\ql m&\cl{^k}\ds&\ibl3i8\qb3i\tql3p\en +\bar%11 +\Notes\ql{N}\sk\ql{N}&\ibl1l0\qb1{nln}\tql1l&\ql p\sk\ql p&\ibl3m0\qb3{lpl}\tql3p\en +\notes\ql{.a}&\ibl1m{-1}\qb1{m*n}&\ql q&\ibbl3k2\qb3{^klm}\tql3n\en +\Notes&\qb1m&\ql q&\ibl3o{-2}\qb3o\en +\notes\cl{^a}&\tql1l&&\nbbl3\qb3n\tql3m\en +\bar%12 +\Notes\ql b&\ibl1k2\qb1{^k}&\ibl2o{-1}\qb2p&\ibl3n{-2}\qb3n\en +\notes&\nbbl1\qb1l\tql1m&\qb2q&\nbbl3\qb3m\tql3l\qsk\en +\notes\qu I&\itied1i\qu i&\qb2p&\ibbl3k0\qb3{^kl}\en +\notes&&\tql2o&\qb3m\tql3k\en +\Notes\ql{.L}&\ttie1\ibu1i0\qb1i&\ibl2n0\qb2n&\itieu3l\hl l\en +\notes&\nbbu1\qb1h\tqu1i&\nbbl2\qb2m\tql2n&\en +\Notes&\ibu1g2\qb1g&\cl l&\en +\notes\cl{=K}&\nbbu1\qb1h\tqu1i&\ds&\en +\bar%13 +\notes\qu J&\ibl1j2\qb1j\sk\qb1k&\hpause&\ttie3\ibbl3k1\isluru3l\qb3l\tslur3k\qb3k\isluru3m\qb3m\tslur3l\tql3l\en +\notes\ql c&\qb1l\sk\tql1m&&\ibbl3m1\isluru3n\qb3n\tbbl3\tslur3m\qb3m\tql3o\en +\notes\ql{.b}&\ibl1n{-1}\qb1n\sk\nbbl1\qb1m\tql1l&\ql n&\ql{.k}\en +\Notes&\cl k&\ibl2k{-4}\qb2n&\en +\notes\ibbu0J{-2}\qb0J\tqu0I&\ds&\tql2g&\ibbl3j2\qb3j\tql3k\en +\bar%14 +\Notes\qu{.H}&\ds&\ibl2j1\qb2{.j}&\ibl3l2\qb3l\en +\notes&\cu h&\qsk\tqql2k&\nbbl3\qb3m\tql3n\en +\Notes&\ibu1e0\qb1e&\ibl2j{-2}\qb2j&\ibl3o{-2}\qb3o\en +\notes\ibbu0I2\qb0I\tqu0J&\nbbu1\qb1d\tqu1e&\tql2i&\tql3n\en +\notes\ql{.K}&\ibu1g1\qb1f&\ibu2h1\qb2h&\ibbl3l{-2}\pince{o}\qb3m\tbbl3\qb3l\en +%\vnotes1.4\elemskip&&&\nbbbl3\qb3l\tbbl3\qb3m\en +\Notes&\itied1g\tqu1g&\tqu2i&\tql3k\en +\Notes&\ttie1\ibu1g{-1}\qb1g&\ibl2j2\qb2j&\ibu3i{-6}\qb3j\en +\notes\ibbu0J2\qb0J\tqu0K&\tqu1f&\tql2k&\tqu3d\en +\bar%15 +\Notes\ibu0I0\qb0G&\qu d&\ibu2i0\qb2i&\ibl3i0\qb3i\en +\notes\qb0H&&\nbbu2\qb2h\tqu2i&\qb3j\en +\Notes\qb0I&\qu d&\cu g&\qb3k\en +\Notes\tqu0G&&\ds&\tql3i\en +\Notes\qu{.J}&\qu e&\ds&\ibu3j{-2}\qb3j\en +\notes&&\ibbl2l{-2}\qb2l\tql2k&\qb3i\en +\Notes&\qu e&\ibl2j4\qb2j&\qb3h\en +\Notes\cu{^J}&&\tql2l&\tqu3g\en +\bar%16 +\notes\ql K&\ibu1g{1}\qb1d&\ibbl2h1\qb2{hk}&\ibu3f2\qb3f\en +\notes&\qb1e&\qb2j\tql2i&\tqu3g\en +\notes\ql K&\qb1d&\ibbl2j0\qb2j\tbbl2\qb2h&\ibu3h{-4}\qb3h\en +\Notes&\tqu1j&\itieu2k\tql2k&\tqu3f\en +\Notes\ql N&\ibu1i{-2}\qb1i&\ttie2\ibl2j0\qb2k&\qu g\en +\notes&\tqu1h&\nbbl2\qb2j\tql2k&\en +\Notes\cu G&\cu g&\cl i&\cu g\en +\setrightrepeat +%\mulooseness=+1% +\endpiece% +\eject +\end diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/racine.tex b/Master/texmf-dist/doc/generic/musixtex/examples/racine.tex new file mode 100644 index 00000000000..0354b45c264 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/racine.tex @@ -0,0 +1,596 @@ + +\ifx\mxversion\undefined + \input musixtex + \input musixcpt + \input musixsty +\fi + +\hsize 190mm \vsize 280mm +\hoffset -1.84cm + + +\fulltitle{Cantique de Jean Racine} +\shorttitle{Cantique de Jean Racine} +\shortauthor{G. Faur\'e} +\fullauthor{Gabriel Faur\'e\\Transcription Orgue Daniel Taupin} +\othermention{Gif~: 2.4/9.11.13/19.23/33.37.41/54/46.47.48.51} +\maketitle + +% +\parindent 14mm +\musicsize=20 + +\def\quatreinstruments{\def\nbinstruments{4}\relax +\nbporteesi=1\relax +\nbporteesii=2\relax +\nbporteesiii=1\relax +\nbporteesiv=1\relax +\cleftoksi{6000}\relax +\cleftoksii{6000}\relax +\cleftoksiii{6000}\relax +\cleftoksiv{0000}\relax +\def\staffspacingi{1.0}\def\interinstrumenti{0pt}\relax +\def\staffspacingii{1.0}\def\interinstrumentii{-2\Interligne}\relax +\def\staffspacingiii{0.64}\def\interinstrumentiii{0pt}\relax +\def\staffspacingiv{0.64}\def\interinstrumentiv{0pt}\relax +} + % +\def\sanspedale{\def\nbinstruments{3}\relax +\nbporteesi=2\relax +\nbporteesii=1\relax +\nbporteesiii=1\relax +\cleftoksi{6000}\relax +\cleftoksii{6000}\relax +\cleftoksiii{0000}\relax +\def\staffspacingi{1.0}\def\interinstrumenti{-2\Interligne}\relax +\def\staffspacingii{0.64}\def\interinstrumentii{0pt}\relax +\def\staffspacingiii{0.64}\def\interinstrumentiii{0pt}\relax +} + % + +\def\paroles{\eightrm} + +%\paroles +% \line{G.O. ({\bf I}) : 8'+4', acc. Positif/R\'ecit\hss Gabriel Faur\'e} +% \line{Positif ({\bf II}) : 8'+4'+1 1/3, acc. R\'ecit\hss Transcription Orgue Daniel +%Taupin } +% \line{R\'ecit ({\bf III}) : 8'+4'\hss... } +% \line{P\'edale : 16'+8', acc. Positif\hss } + +\quatreinstruments +\normal +\def\instrumenti{P\'edale} +\def\instrumentii{Manuel} +\def\instrumentiii{\vbox{\hbox{T\'enors}\hbox{Basses}}} +\def\instrumentiv{\vbox{\hbox{Sopran.}\hbox{Altos}}} +\generalmeter{\meterC}% +% +% +% formes frequentes +% deux croches hautes +\def\dqb#1#2{\bigaccid\Ibl0{#1}{#2}1\qb0{#1}\varaccid\tqb0{#2}} +\def\dqh#1#2{\bigaccid\Ibu0{#1}{#2}1\qh0{#1}\varaccid\tqh0{#2}} +\def\sdqh{\ds\dqh} +\def\lsdqb{\raise-3\Internote\ds\dqb} +\def\sdqb{\ds\dqb} +\def\Tqb#1#2#3{\Ibl0{#1}{#3}2\qb0{#1}\varaccid\qb0{#2}\tqb0{#3}} +\def\tQb#1#2#3{\ibl0{#2}0\qb0{#1}\varaccid\qb0{#2}\tqb0{#3}} +\def\Tqh#1#2#3{\Ibu0{#1}{#3}2\qh0{#1}\varaccid\qh0{#2}\tqh0{#3}} +\def\tQh#1#2#3{\ibu0{#2}0\qh0{#1}\varaccid\qh0{#2}\tqh0{#3}} +\def\Sqh#1#2#3{\bigaccid\Tqh{#1}{#2}{#3}\Tqh} +\def\Sqb#1#2#3{\bigaccid\Tqb{#1}{#2}{#3}\Tqb} +\def\Qqh#1#2{\sdqh{#1}{#2}\Tqh} +\def\Qqb#1#2{\sdqb{#1}{#2}\Tqb} +\def\dnu#1#2{\bigaccid\qu{#1}\sk\sk\qu{#2}}% +\def\Dnu#1#2{\bigaccid\zq{!#1}\qu{!`#1}\sk\sk\zq{!`#2}\qu{!#2}}% +\def\dnb#1#2{\bigaccid\ql{#1}\sk\sk\ql{#2}}% +\def\Dnb#1#2{\bigaccid\zq{!#1}\ql{!`#1}\sk\sk\zq{!`#2}\ql{!#2}}% +\def\dnl{\dnb}\def\Dnl{\Dnb} +\def\Hu#1{\bigaccid\zh{!`#1}\hu{!#1}} +\def\Hl#1{\bigaccid\zh{!`#1}\hl{!#1}} +\def\hlu#1#2{\bigaccid\zhl{#1}\hu{#2}} +\def\huu#1#2{\bigaccid\zh{#1}\hu{#2}} +\def\hll#1#2{\bigaccid\zh{#1}\hl{#2}} +\def\qlu#1#2{\bigaccid\zql{#1}\qu{#2}} +\def\quu#1#2{\bigaccid\zq{#1}\qu{#2}} +\def\qll#1#2{\bigaccid\zq{#1}\ql{#2}} +\def\Pause{\sk\sk\sk\sk\sk\pause} +\def\Hpause{\sk\sk\hpause} +% +\def\zmid#1{\zcharnote{12}{\paroles #1}} +% +\staffbotmarg\Interligne + +\generalsignature{-5} +\def\nbinstruments{2}% +\debutmorceau +\autolines{14}{4}{4}% +%Takt 1 +\notes\zcharnote b{$\wedge$}\wh K&\uptext{\kern -1.5\Interligne + \bf II}\sdqb cd\Tqb fcd|\uptext{\moyen Andante}\Hpause\enotes +\temps\notes&\Tqb acd\sdqb cd|\sk\sk\sk\qu f\enotes +%Takt 2 +\barre\notes\hu F&\Sqb acdfda|\hu h\enotes +\temps\notes\hu H&\Qqb {=b}ceca|\hu g\enotes +%Takt 3 +\autolines{13}{4}{4}% +\barre\notes\hu K&\Qqb acdaM|\hup f\enotes +\temps\notes\hu J&\Sqb acdfda|\sk\sk\sk\qu h\enotes +%Takt 4 +\def\atnextline{\autolines{13}44}% +\barre\notes\qu I&\sdqb{=e}f|\qu k\enotes +\temps\notes\qu H&\sdqb fc|\qu j\enotes +\temps\notes\qu G&\sdqb cd|\qu i\enotes +\temps\notes\qu F&\sdqb da|\qu h\enotes +%Takt 5 +\barre\notes\hu H&\sdqb{=b}c|\qu h\enotes +\temps\notes &\Tqb eca|\qu g\enotes +\temps\notes\qu K&\sdqb{=N}a|\qu f\enotes +\temps\notes\qu F&\Tqb daM|\qu f\enotes +%Takt 6 +\barre\notes\hu G&\Qqb{=a}bdbL|\hu e\enotes +\temps\notes\hu H&\Qqb {=b}cec{_a}|\hu g\enotes +%Takt 7 +\barre\notes\dnu KJ&\Qqb{=N}adaM|\hu f\enotes +\temps\notes\dnu IH&\sdqb cd\sdqb da|\soupir\sk\sk\qu f\enotes +%Takt 8 +\barre\notes\hup G&\Qqb {=a}bdbL|\hu e\enotes +\temps\notes\sk\sk\sk\ql N&\Qqb{=b}cedc|\hu i\enotes +%Takt 9 +\barre\notes\dnb ML&\Qqb{=b}cfc{=a}|\hu{=h}\enotes +\temps\notes\dnb KJ&\sdqb ae\sdqb ea|\sk\sk\sk\qu f\enotes +%Takt 10 +\barre\notes\dnu IH&\sdqb{=e}f\sdqb fc|\dnu kj\enotes +\temps\notes\dnu GF&\sdqb cd\Tqb fd{_a}|\dnu i{_h}\enotes +%Takt 11 +\barre\notes\hu H&\Qqb{=b}ceca|\dnu hg\enotes +\temps\notes\dnu DF&\Qqb{=N}adad|\dnu fh\enotes +%Takt 12 +\advance\linesinpage by -1\relax + % +\barre\notes\hu G&\Qqb{=a}bdb{_N}|\hu f\enotes +\temps\notes\hu H&\Qqb N{_a}caN|\hu e\enotes +\def\atnextline{\sanspedale\def\nbinstruments{2}\savemeters}% + % +%Takt 13 +\barre\notes\zcharnote B{\kern -2\Interligne\rm(P\'ed.)}\zhl K\relax + \raise 2\Interligne\sdqb Ma\sdqb aM|\cu d\sk\ds\itenl1d\qu d&\Hpause\enotes +\temps\notes\cl a\sk\ds|\tten1\Tqh dcd&\soupir\enotes +\temps\notes\zcharnote C{\bf I \rm(G.O.)}\soupir|\Tqh fda&\relax + \zmid{Verbe \'e-}\clp M\sk\ccl M\enotes +%Takt 14 +\barre\notes\hu F|\Qqh cdfda&\zmid{gal}\hl a\enotes +\temps\notes\hu H|\Qqh {=b}ceca&\zmid{au}\qlp N\sk\sk\sk\zmid{Tr\`es-}\sk\cl N\enotes +%Takt 15 +\barre\notes\hu K|\Qqh acdaM&\zmid{Haut}\hlp M\enotes +\temps\notes\hu J|\Sqh acdfda&\sk\sk\sk\zmid{notre}\qll Ma\enotes +%Takt 16 +\barre\notes\qu I|\sdqh{=e}f&\zmid{u-}\qll Md\enotes +\temps\notes\qu H|\sdqh fc&\zmid{ni-}\zq M\ql c\enotes +\temps\notes\qu G|\sdqh cd&\zmid{que es-}\zq K\ql b\enotes +\temps\notes\qu F|\sdqh da&\zmid{p\'e}\zq a\ql a\enotes + %\check +%Takt 17 +\def\atnextline{\sanspedale\def\nbinstruments{3}\savemeters}% +\barre\notes\hu H|\Qqh aceca&\zmid{ran-}\zql a\hu c\sk\sk\ql N&\Pause\enotes +\temps\notes\dnu DF|\Qqh acdaM&\zmid{ce}\zq M\ql d\sk\sk\zmid{Jour}\zq M\ql d\enotes + %\check +%Takt 18 +\barre\notes\hu G|\Qqh bdedb&\zmid{\'e-}\zh L\hl d&\Pause\enotes +\temps\notes\hu H|\Qqh NcecN&\zmid{ter-}\zh N\hl c\enotes + %\check +%Takt 19 +\barre\notes\wh I|\Qqh MbdbM&\zmid{nel}\zh M\hl d&\Hpause\enotes +\temps\notes|\Sqh bcdfdb&\zmid{de}\zq M\ql d\sk\sk + \zmid{la}\zq M\ql d&\soupir\sk\sk\zmid{De}\qu f\enotes + %\check +%Takt 20 +\barre\notes\wh H|\Qqh cdfda&\zmid{terre}\hll Md&\zmid{la}\qu h\sk\sk + \zmid{pai-}\qu h\enotes +\temps\notes|\Qqh NdedN&\zmid{et}\zq L\ql d\sk\sk + \zmid{des}\zq M\ql c&\zmid{si-}\qu g\sk\sk + \zmid{ble}\qu g\enotes + %\check +%Takt 21 +\barre\notes\hu K|\Qqh MadaM&\zmid{cieux,}\zh K\hlp d&\zmid{nuit,}\hup f\enotes +\temps\notes\hu J|\Sqh acdfda&\hl J\sk\sk\zmid{nous}\qu a&\sk\sk\sk + \zq f\qu h\enotes + %\check +%Takt 22 +\barre\notes\dnu IH|\sdqh{=e}f\sdqh fc&\zmid{rom-}\qll Ib\sk\sk + \zmid{pons}\qll Hd&\quu fk\sk\sk\quu fj\enotes +\temps\notes\dnu {=G}J|\sdqh bf\sdqh eb&\zmid{le}\qll {=G}d\sk\sk + \zmid{si-}\qll Jc&\quu fi\sk\sk\quu {=e}j\enotes + %\check +%Takt 23 +\barre\notes\hup F|\Qqh {=N}c{=e}cN&\zmid{len-}\hll Fc&\huu {=e}i\enotes +\temps\notes\sk\sk\sk\qu J|\Sqh acfh{_e}c&\zmid{ce,}\qll Mc\sk\sk + \zmid{Di-}\qll Je&\quu fh\sk\sk\quu hj\enotes + %\check +%Takt 24 +\barre\notes\hu K|\Qqh bfhfb&\zmid{vin}\hll Kf&\zhu i\qsk\hl h\enotes +\temps\notes\hu L|\Qqh bd{=g}db&\zmid{Sau-}\hll Lb&\zh{=g}\hu k\enotes + %\check +%Takt 25 +\barre\notes\Dnu a{=N}|\sdqh ce\ds\rq c\dqh b{=e}\relax + &\zmid{veur,}\qll aa\sk\sk\qll{=N}b&\zhup j\dnb e{=e}\enotes +\temps\notes\Dnu ML|\ds\zq a\dqh cf\ds\zq{=a}\dqh c{_g}&\relax +\qll Ma\sk\sk\zmid{jet-}\qll L{=a}&\ql f\sk\sk\quu{_g}j\enotes + %\check +%Takt 26 +\barre\notes\Hu K|\Qqh bdfdb&\zmid{te}\zh K\hlp b\sk\sk\zmid{sur}\relax + &\zhl f\qu i\sk\sk\qu i\enotes +\temps\notes\Hu L|\Qqh bd{=g}db&\hl L\sk\sk\qu b&\zhl{=g}\qu k\sk\sk\qu k\enotes + %\check +%Takt 27 +\barre\notes\Hu{=L}|\Qqh c{=g}igc&\zmid{yeux,}\hll {=L}b&\zhl{=g}\hup j\enotes +\temps\notes\zq F\dnu MH|\Qqh ch{_g}ca&\quu Ma\sk\sk\zmid{Di-}\qll ac\relax + &\ql h\sk\sk\lfl g\zqu h\qsk\ql g\enotes + %\check +%Takt 28 +\barre\notes\Dnu KM|\sdqh fk\zq{=h}\Tqh jfe&\zmid{vin}\qll Kd\sk\sk\quu M{=a}\relax + &\Ilegu1q\zhl f\qu m\sk\sk\qu j\sk\tleg1\enotes +\temps\notes\Dnu ba|\Qqh di{_j}f{=d}&\zmid{Sau-}\qll bb\sk\sk\quu a{=d}&\relax + \Ilegu1q\quu fk\sk\sk\quu {_j}m\sk\tleg1\enotes + %\check +%Takt 29 +\barre\notes\Dnu{=N}{=L}|\Qqh ei{=g}{_d}i&\zmid{veur}\qll {=N}e\sk\sk + \zmid{jet-}\qll {=L}b&\quu il\sk\sk\quu {=g}k\enotes +\temps\notes\Dnu{M}{=K}|\Qqh chfca&\zmid{te}\qll Ma\sk\sk + \zmid{sur}\qll {=K}a&\quu hj\sk\sk\quu fj\enotes + %\check +%Takt 30 +\barre\notes\zh E\hu L|\Qqh c{=g}ec{=N}&\zmid{nous}\hll L{=N}&\huu ej\enotes +\temps\notes\hu E|\Qqh dgedN&\zmid{les}\hll LN&\huu di\enotes + %\check +%Takt 31 +\barre\notes\hu H|\Qqh cehec&\zmid{yeux !}\hll Ha&\huu ch\enotes +\temps\notes\Hpause|\Tqh e{=g}h\zqu j\Tqb jgh&\Hpause + &\Hpause\enotes + %\check +%Takt 32 +\barre\notes\hu J|\zhu l\Qqb{=g}hjgh&\Pause&\Pause\enotes +\temps\notes\hu L|\zhu k\raise -\interligne\ds\dqb{^f}g\Tqb ifg\enotes +\def\atnextline{\sanspedale\def\nbinstruments{1}}% + %\check +%Takt 33 +\advance\linesinpage by -1\relax + % +\barre\notes\hl a|\zhup j\raise -\interligne\ds\dqb e{=g}\Tqb hec\enotes +\temps\notes\hl{=N}|\Tqb egh\zqu l\sdqb jh\enotes + %\check +%Takt 34 +\barre\notes\dnb ML|\bigaccid\zqu o\sdqb{=i}j\bigaccid\zqu{=n}\sdqb kj\enotes +\temps\notes\dnb KJ|\bigaccid\zqu m\sdqb{=g}h\zqu l\sdqb ih\enotes + %\check +%Takt 35 +\barre\notes\dnu IL|\zqu l\sdqb fh\zqu k\raise -\Interligne\ds\dqb e{=g}\enotes +\temps\notes\dnu HJ|\zqu j\raise -2\Interligne\ds\dqb eg\zqu j\Tqb heh\enotes + %\check +%Takt 36 +\barre\notes\hl K|\zhu i\raise -2\Interligne\ds\dqb fh\Tqb dfh\enotes +\temps\notes\hl L|\zhu k\raise -2\Interligne\ds\dqb e{=g}\Tqb ieg\enotes + %\check +\def\atnextline{\quatreinstruments\savemeters}% + %\check +%Takt 37 +\barre\notes&\hl{=L}|\zhu j\raise -2\Interligne\ds\dqb {=g}i\Tqb {=e}gi&\Pause + &\Pause\enotes +\temps\notes\soupir\sk\sk\qu J&\dnb Mc|\Sqh cfhjeh\enotes + %\check +%Takt 38 +\barre\notes\hl K&\hl b|\Qqh fhifh&\Pause&\Pause\enotes +\temps\notes\hl L&\hl d|\Qqh e{=g}ieg\enotes + %\check +%Takt 39 +\barre\notes\wh H&\hlp c|\Qqh e{=g}hec&\Hpause&\Hpause\enotes +\temps\notes&\uptext{\bf II}\sk\sk\sk\soupir|\Sqh eghjhe&\soupir\sk\sk + \zmid{R\'e-}\qll Ha&\soupir\sk\sk\quu ej\enotes + \ifx\mxversion\undefined\hskip -\Interligne\fi % only with MusiCTeX, not MusiX +\cleftoksii{0000}\changeclefs + %\check +%Takt 40 +\barre\notes\hu H&\Qqh eecee|\zh h\hu j&\zmid{pands}\hll Ha&\huu ej\enotes +\temps\notes\hu I&\Qqh ddbdd|\zh f\hu i&\zmid{sur}\hll IM&\huu di\enotes + %\check +%Takt 41 +\barre\notes\wh J&\Qqh cc{=N}cc|\lna e\zq e\qu{=g}\sk\sk\qu e&\relax + \zmid{nous}\qll J{=L}\sk\sk + \zmid{le}\qll Jc&\quu c{=g}\sk\sk\zq c\qu {=e}\enotes +\temps\notes&\Qqh ccbcc|\zq{=d}\qu f\sk\sk\zq e\qu g&\zmid{feu}\qll +Jb\sk\sk\zmid{de la}\zq J\cl b\sk\zq J\cl b&\zq {=d}\qu f\sk + \sk\zq{=e}\cu h\sk\zq e\cu h\enotes + %\check +%Takt 42 +\barre\notes\wh M&\sdqh cc\sdqh cc|\zq f\qu h\sk\sk\zq f\qu h&\zmid{gr\^a-}\zhl +M\qu a\sk\sk\ql f&\huu fh\enotes +\temps\notes&\Qqh ffeff|\zq{=g}\qu i\sk\sk\zq{=h}\qu j&\zmid{ce}\qll Mf\sk\sk + \zmid{puis-}\qll Me&\zq {=g}\qu i\sk\sk\zq {=h}\qu j\enotes + %\check +%Takt 43 +\barre\notes\wh I&\Qqh ffeff|\zh{=h}\hu j&\zmid{gr\^a}\hll Ie&\zh h\hu j\enotes +\temps\notes&\Qqh ffiff|\zq i\qu k\sk\sk\zcharnote{n}{\bf I\rm(G.O.)}\soupir + &\zmid{te,}\qll Id\sk\sk\zmid{que}\qll bf&\zq i\qu k\sk\sk\zq i\qu k\enotes + %\check +%Takt 44 +\barre\notes\hl b&\Qqh ffdff|\zh i\hu k&\zmid{tout}\hll bf&\huu ik\enotes +\temps\notes\hl L&\Qqh eecee|\zh{_g}\hu j&\zmid{l'en-}\hll Le&\zh{_g}\hu j\enotes + %\check +%Takt 45 +\barre\notes\wh M&\Qqh ccfcc|\zh f\hu{=h}&\zmid{fer,}\qll Mc\sk\sk + \zmid{que}\qll Mf&\quu f{=h}\sk\sk\quu fh\enotes +\temps\notes&\Qqh ffeff|\zq{=g}\qu i\sk\sk\zq h\qu j&\zmid{tout}\qll {=N}f\sk\sk + \zmid{l'en-}\qll {=a}e&\quu fi\sk\sk\quu fj\enotes + %\check +%Takt 46 +\barre\notes\wh b&\Qqh ffiff|\zh i\hl k&\zmid{fer}\qll bd\sk\sk + \zmid{fuie}\ql b&\quu fk\sk\sk\quu ik\enotes +\temps\notes&\Qqh iihii|\zq j\ql l\sk\sk\zq{=k}\ql m&\zmid{au}\lq c\ql b\sk\sk + \zmid{son}\qll b{=d}&\quu il\sk\sk\qll hm\enotes + %\check +%Takt 47 +\barre\notes\wh L&\Qqb iihii|\zh{=k}\hl m\zcharnote m{\bf II \rm(Pos.)}\relax + &\zmid{de}\zqp L\qlp{=d}\sk\sk\sk\zmid{ta}\relax + \zq L\cl d&\zhp h\hup m\sk\sk\sk\zq g\cu n\enotes +\temps\notes&\sdqb ig\Tqb ebe|\zq l\cl n\sk\ds\sk\soupir&\zmid{voix}\qll Le\sk + \sk\soupir&\quu gn\sk\sk\zmid{Dis-}\quu in\enotes +\cleftoksii{6000}\changeclefs + %\check +%Takt 48 +\barre\notes\itenl0F\wh F&\Hpause|\sdqh{c}f\zql g\Tqh geb&\soupir\sk\sk + \zmid{Dis-}\qll bg&\Ilegu1o\zmid{si}\quu {=h}m\sk\sk\quu ej\tleg1\enotes +\temps\notes&\soupir\sk\sk\ql N|\zql f\Tqh fc{=h}\zql i\Tqh iec&\relax + \zmid{si-}\qll{=a}f\sk\sk\zmid{pe}\qll{N}e&\zq e\hu j\sk\sk\qu i\enotes +\def\atnextline{\sanspedale\savemeters}% + %\check +%Takt 49 +\barre\notes\tten0\zhl F\zhlp M\qsk\zcharnote D{\it(Ped.)}\relax + |\zhu h\raise -3\Interligne\ds\dqb ce\tQb fce\relax + &\zmid{le}\qll Me\sk\sk\zmid{som-}\zql M\noteskip=1.5\noteskip\dqh dc\relax + &\zq j\zqu{=h}\noteskip=1.5\noteskip\sk\sk\zql h\dqh kl\enotes +\temps\notes\ql I\sk\sk\soupir|\Sqh idfifd&\zmid{meil}\qll Id\sk\sk\soupir + &\quu ik\sk\sk\zmid{d'une}\quu fk\enotes + %\check +%Takt 50 +\barre\notes\itenl1J\wh J\sk\sk\ql d|\sdqh{=e}{=g}\zql f\Tqh fgi&\soupir + \sk\sk\zmid{lan-}\qll Md&\zmid{\^a-}\quu{=e}j\sk\sk\zmid{me}\quu d{=g}\enotes +\temps\notes\ql c\sk\sk\itenu2b\ql b|\bigaccid\zql{=e}\Tqh egi\ds\zq d\dqh fg\relax + &\qll{=L}c\sk\sk\zmid{guis-}\qll{_K}b&\zmid{lan-}\quu bg\sk\sk\rq g\qu f\enotes + %\check +%Takt 51 +\barre\notes\tten1\zhl J\tten2\ql b\sk\sk\noteskip=1.5\noteskip\dqh{=a}{=N}\relax + |\ds\zq c\dqh{=e}{=g}\Tqh{=h}ei&\zmid{san-}\zhl J\ql b\sk\sk\noteskip + =1.5\noteskip\dqb {=a}{=N}&\zhl{=e}\qu{=g}\sk\sk\noteskip=1.5\noteskip + \dqh{=h}i\enotes +\temps\notes\zcl M\cu a\sk\ds\zq F\qu M|\Qqh cfhfc&\zmid{te,}\qll Fa\sk + \sk\zmid{qui}\ql M&\quu fh\sk\sk\soupir\enotes + %\check +%Takt 52 +\barre\notes\Hu b|\Qqh dfifd&\hl b\sk + \zmid{qui}\sk\qu b&\hpause\enotes +\temps\notes\Hu{_a}|\Qqh cfjfc&\zmid{la}\zhl a\ql f\sk + \sk\zmid{con-}\ql f&\soupir\sk\sk\qu f\enotes + %\check +%Takt 53 +\barre\notes\Hu N|\Qqh fiebe&\zmid{duit}\zhl N\ql f\sk\sk\ql e\relax + &\hlp i\sk\sk\qu i\enotes +\temps\notes\Dnu MK|\Qqh dfifb&\zmid{\`a}\qll Md\sk\sk\zmid{l'ou-}\qll Kf\relax + &\qu m\sk\sk\qlu ii\enotes + %\check +%Takt 54 +\barre\notes\Hu L|\Qqh cgigc&\zmid{bli}\hll Lb&\rq j\qu i\sk\sk\noteskip + =1.5\noteskip\rq j\cu i\rq j\cu i\enotes +\temps\notes\Hu M|\Qqh ce{=h}ec&\zmid{ de}\zql M\noteskip=1.5\noteskip + \dqh fe\zmid{tes}\dqh dc&\quu {=h}j\sk\sk\noteskip=1.5\noteskip + \zq h\cu k\zq h\cu l\enotes + %\check +%Takt 55 +\barre\notes\Hu N|\Qqh d{=h}igd&\zmid{lois,}\zhl N\ql c\sk\sk\ql b\relax + &\quu{=h}l\sk\sk\quu ik\enotes +\temps\notes\zmidtwotext{\kern -2\Interligne\bf I \rm(G.O.)}\Dnu ML|\relax + \Qqh df{=h}fc&\soupir\sk\sk\ql M&\Hpause\enotes + %\check +%Takt 56 +\barre\notes\Hu K\zcharnote I{(+P\'ed.)}|\sdqh bf\itenu1i\zqu i\Tqb ifb&\hl b\sk + \zmid{qui}\sk\qu b&\hpause\enotes +\temps\notes\Hu J\zcharnote I{(+P\'ed.)}|\tten1\zqu i\raise -2\Interligne\ds + \dqb bf\zqu {_h}\qsk + \Tqb ifb&\zmid{la}\qll bf\sk\sk\zmid{con-}\qll af&\soupir\sk\sk\qu f\enotes + \def\atnextline{\quatreinstruments}% + %\check +%Takt 57 +\barre\notes\wh I&\hu I|\zhu g\raise -5\Internote\ds\dqb bf\Tqb ifb\relax + &\zmid{duit}\zhl N\ql f\sk\sk\ql e&\hlp i\sk\sk\qu i\enotes +\temps\notes&\Hl b|\zqu f\raise -6\Internote\ds\dqb df\zqu i\Tqb ifd\relax + &\zmid{\`a}\qll Md\sk\sk\zmid{l'ou-}\qll bd&\qu m\sk\sk\quu fk\enotes + %\check +%Takt 58 +\barre\notes\hu H&\Hl a|\itenu1j\zh h\zhu j\raise -3\Interligne\ds + \dqb ce\Tqb ece&\zmid{bli}\hll ac&\quu hl\sk\sk\noteskip=1.5\noteskip + \zq h\cu l\zq h\cu l\enotes +\temps\notes\hu G&\Hl N|\tten1\rh i\zhu j\raise -3\Interligne\ds + \dqb ce\Tqb ece&\zmid{de}\qll Nb\sk\sk\zmid{tes}\qll Nb&\quu il\sk\sk + \noteskip=1.5\noteskip\zq i\cu k\zq i\cu l\enotes + %\check +%Takt 59 +\barre\notes\hu F&\zw F\wh M|\zq{=h}\zqu j\raise -3\Interligne\ds + \dqb c{=e}\Tqb fc{=a}&\zmid{lois !}\zhp M\hl c&\huu {=h}m\enotes +\temps\notes\Hpause&\zmidtwotext{\bf II \rm(Pos.)}|\Sqh cefhfc&\sk + \sk\sk\zmid{\^O}\ql M&\Hpause\enotes +\def\atnextline{\sanspedale}% + %\check +%Takt 60 +\barre\notes\Pause + &\hu F|\Qqh cdfd{_a}&\zmid{Christ sois}\dnb aa&\Pause\enotes +\temps\notes&\hu H|\Qqh {=b}c{_e}ca&\zmid{fa-\ \ \ \ vo-}\dnb NN\enotes + %\check +%Takt 61 +\barre\notes\hu K|\Qqh acdaM&\zmid{ra-}\hl M&\Pause\enotes +\temps\notes\hu J|\Sqh acdfda&\zmid{ble \`a}\ql M\sk\sk\zmid{\ ce}\zql M\cu +a\sk\cu a\enotes + %\check +%Takt 62 +\barre\notes\dnu IH|\sdqh{=e}f\sdqh fc&\zmid{peu-}\zhl M\qu d\sk + \sk\qu c&\Pause\enotes +\temps\notes\qu G|\sdqh cd&\zmid{ple}\qll Kb\enotes +\temps\notes\qu F|\sdqh da&\zmid{fi-}\qll aa\enotes + %\check +%Takt 63 +\barre\notes\hu H|\sdqh ac\Tqh eca&\relax + \Ilegl1F\zmid{d\`e-}\zql a\hu c\sk\sk\ql N\tleg1&\Pause\enotes +\temps\notes\qu D|\sdqh ac&\zmid{le}\qll Md&\enotes +\temps\notes\qu F|\Tqh daM&\zmid{pour}\qll Md\sk\sk\enotes + %\check +%Takt 64 +\barre\notes\hu G|\Qqb bdedb&\zmid{te}\hll Ld&\Pause\enotes +\temps\notes\hu H|\Qqb NcecN&\zmid{b\'e-}\hll Nc\enotes + %\check +%Takt 65 +\barre\notes\wh I|\Qqh MbdbM&\zmid{nir}\hll Md&\Hpause\enotes +\temps\notes|\Sqh bcdfdb&\zmid{main-}\qll Md\sk\sk\zmid{te-}\qll Md&\relax + \soupir\sk\sk\zmid{Re-}\qu f\enotes +%Takt 66 +\barre\notes\wh H|\zh f\zhu h\raise -4\Interligne\ds\dqb ac\Tqb dad&\relax + \zmid{nant}\hll Md&\zmid{\c cois}\ql h\sk\sk\zmid{\c les}\ql h\enotes +\temps\notes|\zh e\zhu g\raise -4\Interligne\ds\dqb ac\Tqb dad&\relax + \zmid{ras-}\qll Ld\sk\sk\zmid{sem-}\qll Lc&\zmid{chants}\ql g\sk\sk + \zmid{qu'il}\ql g\enotes + %\check +%Takt 67 +\barre\notes\zql D\sdqh ac\zql H\Tqh daM|\zh d\zhu f&\relax + \zmid{bl\'e,}\zw d\ql K\sk\sk\qu H&\zmid{of-}\hu f\enotes +\temps\notes\dnb KJ|\Sqh adfhfd&\ql K\sk\sk\ql J&\zmid{re}\hl f\sk + \sk\zmid{Re-}\qu h\enotes + %\check +%Takt 68 +\barre\notes\wh I|\sdqh ad\zqu h\Tqb fda&\zmid{chants}\zhl I\raise\Interligne + \soupir\sk\sk + \qu a&\zmid{\c cois}\zhlp f\qu k\sk\sk\zmid{les}\qu j\enotes +\temps\notes|\zqu k\Tqb fdf\zqu j\Tqb hfd&\zmid{qu'il}\zhl I\ql d\sk\sk\ql c&\relax + \zmid{chants}\qu i\sk\sk\zmid{qu'il}\quu fh\enotes + %\check +%Takt 69 +\barre\notes\qsk\dnu LI|\zhu i\qsk\tQb hbe\Tqb heb&\zmid{offre}\zql L\hu b\sk + \sk\zmid{\`a}\ql I&\zmid{of-}\zh e\hu h\enotes +\temps\notes\dnu LK|\zqu i\Sqb gbegeb&\zmid{ta}\zql L\hu b\sk\sk + \zmid{gloi-}\ql K&\zmid{fre,}\zq e\qu g\sk\sk\zmid{\`a}\qu i\enotes + %\check +%Takt 70 +\barre\notes\zmidtwotext{\kern -\Interligne\bf I \rm(G.O.)}\wh J|\sdqb be\zqu i\Tqb geb\relax + &\zmid{ta}\zhl J\raise\Interligne\soupir\sk\sk\zmid{gloire}\qu b\relax + &\zhlp g\qu l\sk\sk\qu k\enotes +\temps\notes|\zqu l\Tqb geg\zqu k\Tqb ige&\zmid{im-}\zhl J\ql e\sk\sk + \zmid{mor-}\ql d&\qu j\sk\sk\quu gi\enotes + %\check +%Takt 71 +\barre\notes\qsk\Dnl MJ|\zhu j\qsk\tQb icf\Tqb ifc&\zmid{tel-}\zql M\hl c\sk\sk + \ql J&\zh f\hu i\enotes +\temps\notes\Dnl ML|\zqu j\tQb hcf\itenu1h\zqu h\qsk\Tqb gca&\zmid{le,}\relax + \qll Mc\sk\sk\zmid{et}\qll Lc&\zq f\qu h\sk\sk\rq h\qu g\enotes + %\check +%Takt 72 +\barre\notes\Dnl KM|\tten1\zqu h\tQb fdf\zqu{=h}\tQb ece&\zmid{de}\qll Kd\sk\sk + \qll M{=a}&\zhl f\qu m\sk\sk\qu j\enotes +\temps\notes\Dnl ba|\zqu i\Tqb dfd\zqu{_j}\tQb f{=d}f&\zmid{tex}\ql b\sk\sk + \qll {_a}{=d}&\zq f\qu k\sk\sk\zq{j}\qu m\enotes + %\check +%Takt 73 +\barre\notes\Dnl{=N}{=L}|\zqu i\tQb ebe\zqu{=g}\tQb{_d}bd&\zmid{dons}\qll {=N}e\sk + \sk\qll{=L}b&\zq i\qu l\sk\sk\zq{=g}\qu k\enotes +\temps\notes\Dnl M{=K}|\zqu h\tQb cac\zq h\zqu j\tQb fcf&\zmid{qu'il}\qll Ma\sk + \sk\qll{=K}a&\quu hj\sk\sk\quu fj\enotes + %\check +%Takt 74 +\barre\notes\zh E\hu L|\zh{=g}\zhu j\tQb ece\tQb ece&\zmid{tour-}\hll L{=N}\relax + &\huu ej\enotes +\temps\notes\zh{_D}\hu{_K}|\zh g\zhu i\raise -3\Interligne\ds + \dqb be\Tqb ebe&\zmid{ne}\zqp{_K}\qlp N\sk\sk\sk\zmid{com-}\zq K\cl N&\zqp e\qup i\sk + \sk\sk\zq e\cu i\enotes + %\check +%Takt 75 +\barre\notes\Hu J|\zhu h\raise -3\Interligne\ds\dqb ae\tQb eae\relax + &\hll Ja&\zh e\hup h\enotes +\temps\notes|\zcharnote n{\bf II}\sk\enotes +\temps\notes\hu K|\zhu{_j}\tQb fdf\Tqb hfd&\zmid{Et}\hll K{_c}&\hu f\sk + \sk\ql h\enotes + %\check +%Takt 76 +\barre\notes\dnu GI|\zqu i\raise -3\Interligne\ds\dqb dg\zqu h\relax + \raise -3\Interligne\ds\dqb {=d}f&\zmid{de}\qll Gd\sk\sk\qll Ia&\zq d\qu i\sk + \sk\zq{=d}\qu f\enotes +\temps\notes\dnb L{_K}|\zqu{_g}\raise -3\Interligne\ds + \dqb be\zq{=g}\zqu i\tQb gb{=e}&\zmid{tes}\qll LN\sk\sk\qll K{=N}&\relax + \zq d\qu g\sk\sk\zq{=f}\qu i\enotes + %\check +%Takt 77 +\def\atnextline{\quatreinstruments\savemeters}% + % +\barre\notes\Pause&\dnu JG|\zqu h\raise -3\Interligne\ds + \dqb a{_e}\zqu j\tQb {=h}eh&\zmid{dons}\qll Ja\sk\sk\qll Nc&\quu eh\sk\sk + \dfl i\quu il\enotes +\temps\notes\Pause&\dnu F{=G}\relax + |\zqu k\tQb {_h}fh\raise 2\Interligne\rlap{\ds}\Tqh bdb&\zmid{qu'il}\relax + \qll Md\sk\sk\zmid{re-}\qll {=N}b&\zq h\qu k\sk\sk\zq d\qu f\enotes + %\check +%Takt 78 +\barre\notes&\wh H|\Qqh acfca&\zmid{tour-}\hll aa&\zh c\hu h\enotes +\temps\notes&|\Qqh NcecN&\zmid{ne}\zqp H\qlp{_N}\sk\sk\sk + \zmid{com-}\zq H\cl N&\zqp c\qup e\sk\sk\sk\cu d\enotes + %\check + %Takt 79 +\barre\notes\zcharnote b{$\wedge$}\hl K&\zmidtwotext{\bf III + \rm(r\'ecit)}\sdqb Ma\Tqb daM|\sk\hpause&\zmid{bl\'e !}\zhp K\hlp M\relax + &\hup d\enotes +\temps\notes\hpause&\Tqb acd\sdqb da|\soupir\sk\sk\qu f&\sk\sk\sk\soupir + &\sk\sk\sk\soupir \enotes + %\check + %Takt 80 +\barre\notes\hu F&\Qqb cdfda|\hu h&\Pause&\Pause\enotes +\temps\notes\hu G&\Qqb {=a}bdbN|\hu g\enotes + %\check + %Takt 81 +\barre\notes\itenl1H\wh H&\Qqb {=N}adaM|\hup f&\Hpause&\Hpause\enotes +\temps\notes&\Sqb acdfda|\sk\sk\sk\soupir&\soupir\sk\sk +\zmid{Et}\qll Ha&\soupir\sk\sk\zq d\qu f\enotes + %\check + %Takt 82 +\barre\notes\tten1\wh H&\Qqb NdedN|&\zmid{de}\zhl H\dnu NM&\zhu e\qsk\hl d\enotes +\temps\notes&\Qqb NcecN|&\zmid{tes}\hll HL&\huu cg\enotes + %\check + %Takt 83 +\barre\notes\wh K&\Qqb MadaM|&\zmid{dons}\zhp K\hlp M&\zhp d\hup f\enotes +\temps\notes&\Tqb acd\sdqb da|\soupir\sk\sk\qu f&\sk\sk\sk\soupir + &\sk\sk\sk\soupir\enotes + %\check + %Takt 84 +\barre\notes\hu{=H}&|\zqu k\Tqb efe\zqu j\Tqb fef&\Pause&\Pause\enotes +\temps\notes\dnu IJ&|\zqu i\Tqb dfd\zqu h\tQb fcf&\enotes + %\check + %Takt 85 +\barre\notes\dnu KL&|\zqu h\Tqb cfc\zqu g\tQb ebe&\Hpause&\Hpause\enotes +\temps\notes\dnu MF&\Sqb {=a}cMd{_a}M|\qu f\sk\sk\soupir + &\zmid{qu'il}\qll F{=a}\sk\sk + \zmid{re-}\qll F{_a}&\zq c\qu f\sk\sk\zq d\qu {_h}\enotes + %\check + %Takt 86 +\barre\notes\wh G&\Qqh MbdbM|&\zmid{tour-}\zw G\wh b&\zw d\wh f\enotes +\temps\notes&|\Tqh bdf\zq i\cu k\ds\enotes + %\check + %Takt 87 +\barre\notes\wh H&\sdqh Na|\sk\sk\sk\Tqh ceg&\zmid{ne}\relax + \zhlp H\hup N&\zhp c\hup e\enotes +\temps\notes&|\zq h\cu j\sk\ds\soupir&\sk\sk\zmid{com-}\qll HN\relax + &\sk\sk\quu dd\enotes + %\check + %Takt 88 +\barre\notes\itenl1K\wh K&|\Qqh acdaM&\relax + \zmid{bl\'e}\itenl0K\itenu3M\zw K\wh M&\itenl4d\wh d\enotes +\temps\notes&|\Tqb acd\itenu2f\zqu f\Tqb fda\enotes + \advance\barsinline by -1\relax % accepter une mesure de plus + %\check + %Takt 89 +\barre\notes\tten1\wh K&|\tten2\zw {Mad}\wh f\sk + &\tten0\tten3\zw K\wh M&\tten4\wh d\enotes +\finmorceau +\bye + diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/recueil.tex b/Master/texmf-dist/doc/generic/musixtex/examples/recueil.tex index 2a704a09cfa..9e540aa192a 100644 --- a/Master/texmf-dist/doc/generic/musixtex/examples/recueil.tex +++ b/Master/texmf-dist/doc/generic/musixtex/examples/recueil.tex @@ -8,6 +8,10 @@ \tracingstats=2\relax \line{\ \hss} \vskip 15mm + +\def\magstep#1{\ifcase#1 \@m\or 1200\or 1440\or 1728\or 2074\or + 2488\or 2986\or 3583\or 4300\or 5160\fi\relax} + \message{Font name: \fontname\the\font} \iflongDCfontnames \font\geant=\fontid bx3583 @@ -39,21 +43,21 @@ \vfil \hbox to \hsize{\hss\vbox{\hsize 12cm \centerline{\moyen PR\'EFACE ET AVERTISSEMENT} - \bigskip Pour pouvoir avoir l'outrecuidance de se pr\'etendre compositeur -\`a la fin du XX\`eme si\`ecle, il est indispensable de faire preuve -d'audaces, de produire du jamais entendu, m\^eme si seule une minorit\'e -infime d'initi\'es, c'est-\`a-dire l'\'elite musicale et musicologique, est -capable d'appr\'ecier la d\'elicate saveur des \'etranget\'es harmoniques -qu'on lui propose. + \bigskip Pour pouvoir avoir l'outrecuidance de se pr\'etendre compositeur \`a +la fin du XX\raise 0.7ex \hbox{\eightrm e} si\`ecle, il est indispensable de +faire preuve d'audaces, de produire du jamais entendu, m\^eme si seule une +minorit\'e infime d'initi\'es, c'est-\`a-dire l'\'elite musicale et +musicologique, est capable d'appr\'ecier la d\'elicate saveur des +\'etranget\'es harmoniques qu'on lui propose. \medskip Ou bien alors, si l'on veut produire de la musique tonale, il faut se r\'esigner \`a \^etre catalogu\'e dans cette musique de vari\'et\'es, qui est r\'eput\'ee \^etre \`a la vraie musique ce que le ``fast-food'' est \`a la gastronomie. - \medskip En d\'efinitive, l'audace de l'auteur de ces ``Petites Pi\`eces -Pour Plaire'' est d'avoir os\'e \'ecrire de la musique qui n'est ni de la -musique ``contemporaine'', ni de la musique de ``vari\'et\'es'', et qui aurait -pu \^etre \'ecrite -- disons modestement~: comme exercices de style -- par -des \'el\`eves des compositeurs des deux ou trois si\`ecles pass\'es. Leur + \medskip En d\'efinitive, l'audace de l'auteur de ces <<~Petites Pi\`eces +Pour Plaire~>> est d'avoir os\'e \'ecrire de la musique qui n'est ni de la +musique <<~contemporaine~>>, ni de la musique de <<~vari\'et\'es~>>, et qui +aurait pu \^etre \'ecrite -- disons modestement~: comme exercices de style -- +par des \'el\`eves des compositeurs des deux ou trois si\`ecles pass\'es. Leur simple objectif est de charmer les oreilles d'auditeurs de culture classique, tout en restant compatibles avec le genre des lieux o\`u l'on trouve le plus d'orgues classiques, \`a savoir les \'eglises. @@ -137,6 +141,9 @@ TAUPIN}\smallskip \centerline{\sl \aujourdhui}}} \input chanson % \misazero +\input quietude +% +\misazero \input marcello % \misazero diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/rests.tex b/Master/texmf-dist/doc/generic/musixtex/examples/rests.tex new file mode 100644 index 00000000000..188c770f94d --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/rests.tex @@ -0,0 +1,227 @@ +% format plain musixTex musixtEx musIxtex musiCtex +% (c) 1996, Werner Icking +\ifx\mxversion\undefined + \input musixtex + \fi +\input musixlit +\hoffset-15.4mm\voffset-15.4mm +\hsize210mm\advance\hsize-20mm +\vsize11in\advance\vsize-20mm\advance\vsize-20pt +\footline{\smalltype Edited by Werner.Icking@gmd.de using \it Herbert Chlapik, + Die Praxis des Notensetzers, Doblinger Wien 1987, ISBN 3-9000~035-96-2 \hfil} +\parskip 12pt minus 12pt +\nobarnumbers +%\smallmusicsize +\geometricskipscale +\transpose7 +\settrebleclefsymbol1\empty +\settrebleclefsymbol2\empty +\setinterinstrument1{-2\Interligne} +\def\qpp{\pt 5\qp} +\newbox\xtrcti\newbox\xtrctii\newbox\xtrctiii +\def\xtrct#1{ + \def\writeextract{\extract#1\vskip-6pt} + \ifnum#1=3\def\extractline{\setbox\xtrctiii\hbox}\fi + \ifnum#1=2\def\extractline{\setbox\xtrctii\hbox}\fi + \ifnum#1=1\def\extractline{\setbox\xtrcti\hbox}\fi + \ifnum#1=0\def\extractline{\centerline}\def\writeextract{}\fi} +\def\extract#1{ + \ifnum#1=1\line{\hfil\unhbox\xtrcti\hfil}\fi + \ifnum#1=2\line{\xhfil\unhbox\xtrcti\hfil\unhbox\xtrctii\xhfil}\fi + \ifnum#1=3\line{\xhfil\unhbox\xtrcti\hfil\unhbox\xtrctii\hfil + \unhbox\xtrctiii\xhfil}\fi} +\def\centeron{\def\xhfil{\hfil}}\def\centeroff{\def\xhfil{}}\centeron +\def\wrong{\uPtext{wrong}} +\def\right{\uPtext{right}} +\def\better{\uPtext{better}} +\def\notrec{\uPtext{not recommended}} +\def\uPtext#1{\uptext{\kern-\afterruleskip\medtype\it #1}} +\def\Endextract{\setdoubleBAR\endextract} +\def\Startextract{\startextract\addspace{-0.5\afterruleskip}} + +\bigtype + +Whole rest as whole rest\par + +\xtrct1\generalmeter{\meterfrac21}\Startextract +\NOTes\wh c\pause\en\endextract +\xtrct2\generalmeter{\meterfrac42}\Startextract +\NOtes\wrong\ha c\en\NOTes\pause\en\NOtes\hpause\en\endextract +\xtrct3\generalmeter{\meterfrac42}\Startextract +\NOtes\right\ha c\hpause\en\NOTes\pause\en\setdoublebar\bar +\NOtes\better\ha c\hpause\hpause\hpause\en\endextract +\writeextract + +Whole rest as full bar rest {\medtype --- not used for e.g. 3/16}\par + +\def\CP{\def\atnextbar{\znotes\centerpause\en}} +\def\CPB{\def\atnextbar{\znotes\nextinstrument\centerpause\en}} + +\xtrct1\generalmeter{\meterfrac18}\Startextract\notesp\sk\en\CP +\generalmeter{\meterfrac28}\Changecontext\Notes\sk\en\CP +\generalmeter{\meterfrac38}\Changecontext\Notesp\sk\en\CP +\generalmeter{\meterfrac48}\Changecontext\NOtes\sk\en\CP +\generalmeter{\meterfrac14}\Changecontext\Notesp\sk\en\CP +\generalmeter{\meterfrac24}\Changecontext\NOtes\sk\en\CP +\generalmeter{\meterfrac34}\Changecontext\NOtesp\sk\en\CP +\generalmeter{\meterfrac44}\Changecontext\NOTes\sk\en\CP +\generalmeter{\meterfrac54}\Changecontext\NOTes\sk\en\CP +\generalmeter{\meterfrac64}\Changecontext\NOTes\sk\en\CP +\endextract\writeextract + +\xtrct1\generalmeter{\meterfrac12}\Startextract\Notesp\sk\en\CP +\generalmeter{\meterfrac22}\Changecontext\NOtes\sk\en\CP +\generalmeter{\meterfrac32}\Changecontext\NOtesp\sk\en\CP +\generalmeter{\meterfrac42}\Changecontext\NOTes\sk\en\CP +\generalmeter{\meterfrac62}\Changecontext\NOTes\sk\en\CP +\generalmeter{\meterfrac21}\Changecontext\NOTES\wrong\sk\en\CP +\generalmeter{\meterfrac21}\Changecontext\NOTes\right\pause\pause\en +\endextract\writeextract + +\instrumentnumber2 +\xtrct1\generalmeter{\meterfrac24}\Startextract +\Notes\ca c&\ds\en\bar +\NOtesp\pt c\qa c\en\Notes\ca c\en\CPB\bar +\Notes\ca c\en\NOtesp\pt c\qa c\en\CPB\bar +\NOtesp\pt c\qa c&\wrong\en\CPB\Endextract +\xtrct2\generalmeter{\meterfrac24}\Startextract +\Notes\ca c&\ds\en\bar +\NOtesp\pt c\qa c\en\Notes\ca c\en\CPB\bar +\Notes\ca c\en\NOtesp\pt c\qa c\en\CPB\bar +\NOtes\pt c\qa c&\right\qp\en\Notes&\ds\en\Endextract +\writeextract + +\xtrct1\generalmeter{\meterfrac68}\Startextract +\NOtesp\pt c\qa c&\qpp\en\bar +\NOtesp\pt c\qa c\en\Notes\ibl0c0\qb0{cc}\tbl0\qb0c\en\CPB\bar +\NOtesp\pt c\qa c&\wrong\en\CPB\Endextract +\xtrct2\generalmeter{\meterfrac68}\Startextract +\Notesp\pt c\qa c&\qpp\en\bar +\NOtesp\pt c\qa c\en\Notes\ibl0c0\qb0{cc}\tbl0\qb0c\en\CPB\bar +\NOtesp\pt c\qa c&\right\qpp\en\Endextract +\writeextract +\instrumentnumber1 + +Rests and rhythm\par + +\centeroff +\scale{0.9} +\xtrct1\generalmeter{\meterfrac38}\Startextract +\NOtes\wrong\qp\en\Notes\ca c\en\bar +\Notes\right\ds\ds\ca c\en\setdoublebar\bar +\Notes\wrong\ca c\en\NOtes\qp\en\bar +\Notes\right\ca c\ds\ds\en\endextract +\xtrct2\generalmeter{\meterfrac34}\Startextract +\NOTes\wrong\hpause\en\NOtes\qa c\en\bar +\NOtes\right\qp\qp\qa c\en\setdoublebar\bar +\NOtes\wrong\qa c\en\NOTes\hpause\en\bar +\NOtes\right\qa c\qp\qp\en\endextract +\writeextract + +\scale{0.75} +\xtrct1\generalmeter{\meterfrac68}\Startextract +\Notes\wrong\ca c\en\NOtes\qp\en\Notes\ca c\en\NOtes\qp\en\bar +\Notes\right\ca c\ds\ds\ca c\ds\ds\en\setdoublebar\bar +\Notes\wrong\ca c\ds\ds\ds\ds\ca c\en\bar +\Notes\right\ca c\ds\ds\en\NOtes\qp\en\Notes\ca c\en\endextract +\xtrct2\generalmeter{\meterfrac44}\Startextract +\NOtes\wrong\qa c\en\NOTes\hpause\en\NOtes\qa c\en\bar +\NOtes\right\qa c\qp\qp\qa c\en\endextract +\writeextract + +\scale{0.7} +\xtrct1\generalmeter{\meterfrac34}\Startextract +\NOtes\uPtext{3/4 versus 6/8}\qa c\qp\qp\en +\generalmeter{\meterfrac68}\changecontext +\NOtes\qa c\en\Notes\ds\en\NOtes\qp\en\Notes\ds\en\endextract +\xtrct2\generalmeter{\meterfrac34}\Startextract +\Notes\ca c\ds\en\NOtes\qp\en\Notes\ds\ca c\en +\generalmeter{\meterfrac68}\changecontext +\Notes\ca c\ds\ds\en\NOtes\qp\en\Notes\ca c\en\endextract +\xtrct3\generalmeter{\meterfrac34}\Startextract +\Notes\ca c\ds\en\NOtes\qp\en\Notes\ibl0c0\qb0c\tbl0\qb0c\en +\generalmeter{\meterfrac68}\changecontext +\Notes\ca c\ds\ds\ds\en\Notes\ibl0c0\qb0c\tbl0\qb0c\en\endextract +\writeextract + +\scale{0.7} +\xtrct1\generalmeter{\meterfrac34}\Startextract +\NOtes\qp\qp\en\Notes\ibl0c0\qb0c\tbl0\qb0c\en +\generalmeter{\meterfrac68}\changecontext +\NOtes\qp\en\Notes\ds\ds\en\Notes\ibl0c0\qb0c\tbl0\qb0c\en\endextract +\xtrct2\generalmeter{\meterfrac34}\Startextract +\NOtesp\pt c\qa c\en\Notes\ds\en\NOtes\qp\en +\generalmeter{\meterfrac68}\changecontext +\NOtesp\pt c\qa c\en\NOtes\qp\en\Notes\ds\en\endextract +\xtrct3\generalmeter{\meterfrac32}\Startextract +\NOTes\uPtext{3/2 versus 6/4}\ha c\hpause\hpause\en +\generalmeter{\meterfrac64}\changecontext +\NOTes\ha c\en\NOtes\qp\en\NOTes\hpause\en\NOtes\qp\en\endextract +\writeextract + +\scale{0.8} +\xtrct1\generalmeter{\meterfrac{12}8}\Startextract +\NOTesp\wrong\pt c\ha c\hpausep\en\endextract +\xtrct2\generalmeter{\meterfrac{12}8}\Startextract +\Notes\notrec\ca c\ds\ds\en\NOtes\qp\en\Notes\ds\en\NOtes\qp\en\Notes\ds\en +\NOtes\qp\en\Notes\ds\en\endextract +\xtrct3\generalmeter{\meterfrac{12}8}\Startextract +\NOTesp\right\pt c\ha c\en\NOtesp\qpp\qpp\en\bar +\NOTesp\right\pt c\ha c\en\NOtesp\qp\en\Notes\ds\en\NOtesp\qp\en\Notes\ds\en +\endextract +\writeextract + +\scale{0.6} +\xtrct1\generalmeter{\meterfrac{12}8}\Startextract +\Notes\right\ca c\ds\ds\en\NOtesp\qpp\en\NOTesp\hpausep\en\bar +\Notes\right\ca c\ds\ds\en\NOtes\qp\en\Notes\ds\en\NOTesp\hpausep\en\endextract +\xtrct2\generalmeter{\meterfrac{15}8}\Startextract +\Notes\wrong\ca c\ds\ds\en\NOtesp\qpp\qpp\qpp\qpp\en\bar +\Notes\notrec\ca c\ds\ds\en\Notesp\qp\en\Notes\ds\en +\Notesp\qp\en\Notes\ds\en\Notesp\qp\en\Notes\ds\en\Notesp\qp\en\Notes\ds\en\bar +\Notes\right\ca c\ds\ds\en\NOTes\hpausep\hpausep\en\endextract +\writeextract + +\scale{0.8} +\xtrct1\generalmeter{\meterfrac64}\Startextract +\NOTesp\notrec\hpausep\en\NOTes\hpause\en\NOtes\qa c\en\endextract +\xtrct2\generalmeter{\meterfrac64}\Startextract +\NOTes\right\hpause\en\NOtes\qp\en\NOTes\hpause\en\NOtes\qa c\en\bar +\NOTesp\right\hpausep\en\NOtes\qp\qp\qa c\en\endextract +\xtrct3\generalmeter{\meterfrac64}\Startextract +\NOTesp\right\pt c\ha c\en\NOTes\hpause\en\NOtes\qp\en\bar +\NOTesp\right\pt c\ha c\hpausep\en\endextract +\writeextract + +%\scale{0.8} +%\xtrct1\generalmeter{\meterfrac{3\meterplus 2}8}\Startextract +%\NOTesp\notrec\hpausep\en\NOTes\hpause\en\NOtes\qa c\en\endextract +%\xtrct2\generalmeter{\meterfrac64}\Startextract +%\NOTes\right\hpause\en\NOtes\qp\en\NOTes\hpause\en\NOtes\qa c\en\bar +%\NOTesp\right\hpausep\en\NOtes\qp\qp\qa c\en\endextract +%\xtrct3\generalmeter{\meterfrac64}\Startextract +%\NOTesp\right\pt c\ha c\en\NOTes\hpause\en\NOtes\qp\en\bar +%\NOTesp\right\pt c\ha c\hpausep\en\endextract +%\writeextract + +Multibar rests + +\scale{1.1} +\def\TPF{\off{2.5\elemskip}} +\def\CB#1{\centerbar{#1}} +\def\CN#1{\CB{\zcharnote{9}{\meterfont\lrlap{#1}}}} +\xtrct1\generalmeter{}\Startextract +\NOtesp\sk\en\def\atnextbar{\znotes\CN2\CB{\PAuse}\en}\bar +\NOTes \sk\en\def\atnextbar{\znotes\CN3\CB{\PAuse\TPF\pause}\en}\bar +\NOtesp\sk\en\def\atnextbar{\znotes\CN4\CB{\PAUSe}\en}\bar +\NOTes \sk\en\def\atnextbar{\znotes\CN5\CB{\PAUSe\TPF\pause}\en}\bar +\NOTes \sk\en\def\atnextbar{\znotes\CN6\CB{\PAUSe\TPF\PAuse}\en}\bar +\NOTEs \sk\en\def\atnextbar{\znotes\CN7\CB{\PAUSe\TPF\PAuse\TPF\pause}\en}\bar +\NOTes \sk\en\def\atnextbar{\znotes\CN8\CB{\PAUSe\TPF\PAUSe}\en}\bar +\NOTEs \sk\en\def\atnextbar{\znotes\CN9\CB{\PAUSe\TPF\PAUSe\TPF\pause}\en}\bar +\NOTEs \Hpause 4{0.83}\en\def\atnextbar{\znotes\CN{10}\en}\bar +\NOTEsp\Hpause 4{0.83}\en\def\atnextbar{\znotes\CN{11}\en}\endextract +\writeextract +\vfill\eject + +\bye diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/reves.tex b/Master/texmf-dist/doc/generic/musixtex/examples/reves.tex new file mode 100644 index 00000000000..04702a1dd4c --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/reves.tex @@ -0,0 +1,543 @@ + +\ifx\mxversion\undefined + \input musixtex + \input musixcpt + \input musixsty +\fi +\title{R\^eves} +\fulltitle{V. \titremorceau} +\subtitle{(pour orgue)} +\csname titremorceautoc\endcsname +\othermention{Compos\'e en 1990} +\author{Daniel TAUPIN} +\shortauthor{D. Taupin} +\maketitle +\parindent 18mm +% + +\tracingstats=2\relax +% +\nbporteesii=2\relax +\def\nbinstruments{2} +\global\cleftoksii={{0}{0}{0}{0}}% +\global\cleftoksi={{6}{0}{0}{0}}% +% +\signaturegenerale{0}\relax % pas d'armature +\def\quatretemps{\generalmeter{\meterfrac{4}{4}}}% +\def\troistemps{\generalmeter{\meterfrac{3}{4}}}% +\def\deuxtemps{\generalmeter{\meterfrac{2}{4}}}% +\def\Mordant{\mordant{10}}% +%\check +\def\instrumenti{P\'edale 16'}% +\def\instrumentii{\vbox{\hsize=\parindent\centerline{R\'ecit}\vskip 33pt + \centerline{G.O.}}}% +%\check +\def\gluemaxskip{7pt}% +% +\def\doubler{\multnoteskip 2\relax}% +\def\tripler{\multnoteskip 3\relax}% +% formes frequentes +% deux croches hautes +\def\dql#1#2#3{\ibl0{#2}{#1}\qb0{#2}\tbl0\qb0{#3}}% +\def\dqu#1#2#3{\ibu0{#2}{#1}\qh0{#2}\tbu0\qh0{#3}}% +\def\dqh{\dqu}\def\dqb{\dql}% +% +% deux doubles croches hautes +\def\dqbbu#1#2#3{\ibbl0{#2}{#1}\qb0{#2}\tbl0\qb0{#3}}% +\def\dqbbl#1#2#3{\ibbu0{#2}{#1}\qh0{#2}\tbu0\qh0{#3}}% +% +% croche pointee et double croche meme hauteur +\def\cpdcl#1{\trioskip\ibl0{#1}0\qbp0{#1}\sk\tbbl0\tqb0{#1}}% +\def\cpdcu#1{\trioskip\ibu0{#1}0\qhp0{#1}\sk\tbbu0\tqh0{#1}}% +% +% croche et deux doubles croches (1ere = 3eme) +\def\cddcu#1#2{\ibu0{#1}0\qh0{#1}\trioskip + \nbbu0\qh0{#2}\tqh0{#1}}% +\def\cddcl#1#2{\ibl0{#1}0\qb0{#1}\trioskip + \nbbl0\qb0{#2}\tqb0{#1}}% +% +\medskip\noindent{\rm G.O.: bourdon 8', unda maris ou tremblant}% +\par\noindent{\rm R\'ec.: nasard, tremblant}% +\par\noindent{\rm P\'ed.: 16', tirasse G.O.}% +\smallskip +% +\generalmeter{\meterfrac 44\meterfrac 54}% +% +\def\trioskip{\doubler\relax\divide\noteskip by 3\relax}% +\debutmorceau +\autolines {10}45\relax +\footnote{}{\noteskip=18pt\altportee=0pt\resetstem +\tenpoint\bf* \rm Notation :\ \ \zwq 1\ \ \ = \itenl01\wh 1\tten0\qu 1\ \ .}% +\def\resp{\vnotes 0.2\elemskip&|\cbreath\enotes}% +%\check +% +\hyphenpenalty -50\relax +\notes&|\Uptext{\hbox{\kern -16mm\moyen Adagio molto \bf(\metron{\qu}{50})}}\enotes +\advance\linesinpage by 1\relax +% \advance\barsinline by 1\relax +% +\def\qqbbh#1#2#3#4#5{\ibbu0{#2}{#1}\qh0{#2}\qh0{#3}\qh0{#4}\tqh0{#5}}\relax +\def\qqbbH#1#2#3#4#5{\ibbu0{#3}{#1}\qh0{#2}\qh0{#3}\qh0{#4}\tqh0{#5}}\relax +\def\qqbbu{\qqbbh}\def\qqbbb{\qqbbl}% +\def\qqbbl#1#2#3#4#5{\ibbl0{#2}{#1}\qb0{#2}\qb0{#3}\qb0{#4}\tqb0{#5}}\relax +\def\dqbbh#1#2#3{\ibbu0{#2}{#1}\qh0{#2}\tqh0{#3}}\relax +\def\dqbbu{\dqbbh}\def\dqbbb{\dqbbl}% +\def\dqbbl#1#2#3{\ibbl0{#2}{#1}\qb0{#2}\tqb0{#3}}\relax +%\check +\def\qqbh#1#2#3#4#5{\ibu0{#2}{#1}\qh0{#2}\qh0{#3}\qh0{#4}\tqh0{#5}}\relax +\def\qqbH#1#2#3#4#5{\ibu0{#3}{#1}\qh0{#2}\qh0{#3}\qh0{#4}\tqh0{#5}}\relax +\def\qqbl#1#2#3#4#5{\ibl0{#2}{#1}\qb0{#2}\qb0{#3}\qb0{#4}\tqb0{#5}}\relax +%\check +% +% mesure 1 +\Notes\itenu0J\zwq J\zcharnote 8 {\bf *}&\itenl1c\qu c\enotes +\Notes&\tten1\itenl1c\zw c\qsk\wh d\enotes +\Notes&\qu g|\pause\enotes +\Notes&\qu{_h}\enotes +\Notes&\qu{_i}\enotes +% mesure 2 +\barre\nspace\nspace + \notes\tten0\itenu0J\zwq J&\tten1\itenl1c\lh d\lfl d\zhl c\relax + \ibu0g0\qh0g\trioskip\nbbu0\qh0{=h}\tqh0g|\sk\hpause\enotes +\notes&\dqu3ef\enotes +\NOTEs&\tten1\itenl1c\itenl2e\itenu3g\relax + \zhp c\zhp e\hup g|\divide\noteskip by 2\relax\sk\hpause\enotes +\NOtes&|\qu c\enotes +% mesure 3 +\def\atnextline{\autolines {9}45}\relax +\barre\nspace +\Notes\tten0\wh J&\tten1\tten2\tten3\zw c\zw e\itenu1g\wh g|\qu{_d}\enotes +\Notes&|\qu g\enotes +\Notes&|\qu{_h}\enotes +\Notes&|\qu{_i}\enotes +% mesure 4 +\barre\nspace\notes\doubler\hu{=H}&\zw g\tten1\lfl d\fl e\kern 3pt\lh d\hl e\relax + |\ibu0g0\qh0g\trioskip\nbbu0\qh0{_h}\tqh0g\enotes +\notes&|\dqu3{_e}f\enotes +\NOTEs\itenu0J\hup J&\itenu1c\itenu2e\zhp c\hlp{=e}|\hu g\enotes +\NOtes&\qu{_h}|\qu j\enotes +% mesure 5 +%\barre +\alaligne +\notes\tten0\wh J&\tten1\tten2\itenu1c\itenu2e\zw{ceg}\relax + |\ibu0g0\qh0g\trioskip\nbbu0\qh0f\tqh0g\enotes +\notes&|\dqh3ef\enotes +\NOtes&|\qu g\enotes +\NOtes&|\qu{_h}\enotes +% mesure 6 +\barre\NOtes\wh{_H}&\tten1\tten2\itenu2e\zw{_ac}\wh e|\qu{_i}\enotes +\NOtes&|\qu j\enotes +\NOtes&|\qu k\enotes +\notes&|\dql3l{^m}\enotes +% mesure 7 +\barre\nspace\NOtes\zwq E&\tten2\itenu2e\zwq{be}\zwq{^g}|\ql{^n}\enotes +\NOtes&|\ql l\enotes +\notes&|\cddcu i{^j}\enotes +\notes&|\dqu3{^g}h\enotes +\NOtes&|\qu i\enotes +% mesure 8 +\barre\NOtes\zwq J&\tten2\itenl1c\zwq{ce}\zwq{=g}|\ql j\enotes +\NOtes&|\qu{=g}\enotes +\notes&|\cddcu e{^f}\enotes +\notes&|\dqu3cd\enotes +\NOtes&|\qu e\enotes +% mesure 9 +\barre\Notes\zw{^G}&\tten1\itenl1c\zw{ac_e}|\qu{^f}\enotes +\Notes&|\qu{^g}\enotes +\Notes&|\qu{^h}\enotes +\notes&|\dql3jk\enotes +%\check +% mesure 10 +\barre\NOtes\zwq J&\tten1\zwq{Nc=e}|\ql l\enotes +\NOtes&|\ql j\enotes +\notes&|\na g\cddcu g{=h}\enotes +\notes&|\dqu3e{=f}\enotes +\NOtes&|\qu g\enotes +% mesure 11 +\barre\NOtes\zwq F&\fl d\zwq{_af}\rlap{\qsk\hup d}|\qu{_h}\enotes +\NOtes&|\qu{_i}\enotes +\NOtes&|\ql j\enotes +\notes&\itenl0b\hu b|\dql3kl\enotes +\NOtes&|\ql{^m}\enotes +% mesure 12 +\barre\nspace\Notes\zwq E&\tten0\zw b\zwq{e^g}|\ql{^n}\enotes +\Notes&|\ql l\enotes +\notes&|\cddcu i{^j}\enotes +\notes&|\dqu3{^g}{^h}\enotes +\NOtes&\qu{^b}|\qu{^i}\enotes +\def\atnextline{\autolines {11}45}\relax +% mesure 13 +\barre\NOtes\zwq{^J}&\lsh f\zwq{^c^g}\qsk\hu f|\qsk\ql{^j}\enotes +\NOtes&|\qu{^g}\enotes +\notes&\hu d|\na e\cddcu e{^f}\enotes +\notes&|\dqu3{^c}d\enotes +\NOtes&\qu e|\qu e\enotes +% mesure 14 +\barre\NOtes\wh F&\rlap{\lna c\qsk\hup{c}}\zw{a=f}|\qu {=f}\enotes +\NOtes&|\qu{=c}\enotes +\notes&|\dqu3de\enotes +\NOtes&\qu{_d}|\qu f\enotes +% mesure 15 +\barre\nspace\NOtes\wh{_E}&\lfl e\rlap{\qsk\hup e}\zw{_b_g}|\qu{_g}\enotes +\NOtes&|\qu{_d}\enotes +\notes&|\bigfl e\dqu3{e}f\enotes +\NOtes&\qu{=d}|\qu g\enotes +% mesure 16 +\advance\barsinline by -1\relax +\barre\nspace\NOtes\wh{=E}&\lna e\rlap{\qsk\hup e}\zw{=b_h}|\qu{_h}\enotes +\NOtes&|\qu{=e}\enotes +\notes&|\bigfl g\dqu3{g}{_h}\enotes +\NOtes&\qu f|\qu{_i}\enotes +% mesure 17 +\barre\NOtes\zwq J&\zwq{ce}\zwq g|\ql j\enotes +\NOtes&|\qu{=g}\enotes +\notes&|\cddcu ef\enotes +\notes&|\dqu3cd\enotes +\NOtes&|\qu e\enotes +% mesure 18 +\barre\nspace\NOtes\wh{^F}&\zw a\zw{_e}\qsk\itenu1d\wh d|\qu{_e}\enotes +\notes&|\dqu{3}de\enotes +\notes&|\dqu{3}cd\enotes +\notes&|\dqu{3}ef\enotes +% mesure 19 +\barre\NOtes\wh G&\tten1\zw b\zw d\zw g|\qu g\enotes +\notes&|\cddcu d{_e}\enotes +\Notes&|\dqu3bc\enotes +\Notes&|\qu d\enotes +% mesure 20 +\advance\barsinline by -1\relax +\autolines {22}25\relax +\cleftoksii={{6}{0}{0}{0}}\changeclefs +\def\sxtu#1#2#3#4#5#6{{\advance\transpose by 4\ibbu0{#1}2}\qh0{#1}\relax + \qh0{#2}\qh0{#3}\qh0{#4}\qh0{#5}\tqh0{#6}}% +%\check +\def\sxtl#1#2#3#4#5#6{{\advance\transpose by 2\ibbl0{#1}2}\qb0{#1}\relax + \qb0{#2}\qb0{#3}\qb0{#4}\qb0{#5}\tqb0{#6}}% +%\check +% croche et deux doubles croches (1ere = 3eme) +\def\duoskip{\tripler\relax + \divide\noteskip by 2\relax}% +\def\cddcu#1#2{\duoskip\ibu0{#1}0\qh0{#1}\sk + \nbbu0\qh0{#2}\tqh0{#1}}% +\def\cddcl#1#2{\duoskip\ibl0{#1}0\qb0{#1}\sk + \nbbl0\qb0{#2}\tqb0{#1}}% +% +\barre\notes\doubler\wh{_G}&\fl N\sxtl N{_a}{_d}{_e}da|\bigaccid\qu{_e}\enotes +\notes&\sxtl{N}ad{e}da|\qu f\enotes +\notes&\sxtl{N}ad{e}da|\qu g\enotes +\notes&\sxtl{N}{a}{=d}{=e}da|\tripler\dqu2hi\enotes +% mesure 21 +\autolines {29}25\relax +\barre\notes\doubler\wh{^J}&\sxtl M{_a}d{_e}da|\bigsh j\cddcu jk\enotes +\notes&\sxtl M{a}d{e}da|\tripler\dqu{-2}{^g}{^f}\enotes +\notes&\sxtl M{a}d{e}da|\tripler\dqu{2}{^e}f\enotes +\notes&\sxtl M{a}d{e}da|\qu g\enotes +% mesure 22 +\barre\notes\zwq K&\sxtl KMbcbM|\qu h\enotes +\notes&\sxtl KMbcbM|\qu i\enotes +\notes&\sxtl KMbcbM|\tripler\dqu2jk\enotes +\notes&\sxtl KMbcbM|\ql l\enotes +\notes&\sxtl KMbcbM|\ql m\enotes +\autolines {27}25\relax +% mesure 23 +\cleftoksii={{0}{0}{0}{0}}\changeclefs +\barre\notes\itenu0J\zwq J&\sxtu Ncefec|\ql n\enotes +\notes&\sxtu Ncefec|\tripler\dql{-2}lj\enotes +\notes&\sxtu Ncefec|\cddcu gh\enotes +\notes&\sxtu Ncefec|\tripler\dqu2ef\enotes +\notes&\sxtu Ncefec|\qu g\enotes +% mesure 24 +\barre\notes\tten0\hup J&\sxtu Ncefec|\tripler\dqu2hi\enotes +\notes&\sxtu Ncefec|\tripler\dqu2jk\enotes +\notes&\sxtu Ncefec|\tripler\dql4ln\enotes +\notes\qu H&\multnoteskip{1.1}\sxtu ac{_e}{^f}ec|\bigsh m\ql{m}\enotes +% mesure 25 +\autolines {31}25\relax +\barre\notes\zwq G&\noteskip 1.2\noteskip\sxtu ac{=e}{^f}ec|\ql n\enotes +\notes&\sxtu acefec|\tripler\dql{-4}lj\enotes +\notes&\sxtu acefec|\cddcu gh\enotes +\notes&\sxtu acefec|\tripler\dqu2e{^f}\enotes +\notes&\sxtu acegec|\qu g\enotes +% mesure 26 +\barre\notes\doubler\zwq{_G}&\noteskip 1.3\noteskip +\lfl N\bigfl a\sxtu N{a}e{^f}ea|\doubler\qu{_h}\enotes +\notes&\sxtu Naefea|\tripler\dql2{_i}j\enotes +\notes&\sxtu Naefea|\tripler\dql2kl\enotes +\notes&\sxtu Naefea|\tripler\dql2{^m}{^n}\enotes +\notes&\sxtu Naefea|\tripler\ql{_p}\enotes +% mesure 27 +\autolines {28}25\relax\barre\notes\zwq J&\bigna N\sxtu Ncegec|\ql q\enotes +\notes&\sxtu Ncegec|\doubler\ql{=n}\enotes +\notes&\sxtu Ncegec|\bigaccid\cddcl l{=m}\enotes +\notes&\sxtu Ncegec|\tripler\dql2jk\enotes +\notes&\sxtu Ncegec|\ql l\enotes +%\check +% mesure 28 +\barre\notes\zwq H&\noteskip 1.2\noteskip\sxtu ac{_e}{_g}ec|\bigaccid\ql{^m}\enotes +\notes&\sxtu acegec|\tripler\dql{-2}{=l}k\enotes +\notes&\fl a\sxtu ac{=e}fec|\tripler\dql{-2}j{_i}\enotes +\notes&\sxtu acefec|\tripler\dqu{-2}{_h}{_g}\enotes +% mesure 29 +\autolines {24}25\relax +\barre\notes\wh J&\sxtu Ncegec|\cddcu ef\enotes +\notes&\sxtu Ncegec|\tripler\dqu3{=g}{=i}\enotes +\notes&\sxtu Ncegec|\tripler\dql2jk\enotes +\notes&\sxtu Ncegec|\tripler\dql4ln\enotes +%\check +% mesure 30 +\barre\notes\wh H&\sxtu ac{^f}{^g}fc|\ql q\enotes +\notes&\sxtu acfgfc|\tripler\dql{-2}{_p}{^n}\enotes +\notes&\sxtu acfgfc|\tripler\dql{-2}{^m}l\enotes +\notes&\sxtu acfgfc|\tripler\dql{-2}kj\enotes +%\check +\cleftoksii={{6}{0}{0}{0}}\changeclefs +% mesure 31 +\autolines {25}25\relax +\barre\notes\hup J&\sxtl Ncegec|\cddcu gh\enotes +\notes&\sxtl Nce{^f}ec|\tripler\dqu{-2}{^f}e\enotes +\notes&\sxtl Ncefec|\tripler\dqu{-2}dc\enotes +\notes\itenl0H\doubler\qu{_H}&\fl N\sxtl N{_a}d{_e}da|\doubler + \itenl1e\qu{_e}\enotes +%\check +% mesure 32 +\barre\notes\doubler\tten0\wh{_H}&\noteskip 1.1\noteskip\fl N\sxtl +N{_a}d{_e}da|\bigfl e\tten1\qu{e}\enotes +\notes&\noteskip 1.1\noteskip\sxtl Nad{=e}da|\bigaccid\hup{=e}\enotes +\notes&\sxtl Nadeda|\enotes +\notes&\sxtl Nadeda|\enotes +%\check +% mesure 33 +\barre\notes\doubler\wh{_K}&\sxtl M{_a}{_d}fda|\qu f\enotes +\notes&\sxtl Madfda|\tripler\dql2{_h}{_i}\enotes +\notes&\sxtl Madfda|\tripler\dql2j{_k}\enotes +\notes&\sxtl Madfda|\tripler\dql2{_l}m\enotes +%\check +% mesure 34 +\barre\nspace\notes\doubler\wh{_L}&\noteskip 1.2\noteskip + \sxtl M{_N}{_b}{_e}bN|\bigaccid\ql{_p}\enotes +\notes&\sxtl MNbebN|\tripler\dql{-2}{_o}{_n}\enotes +\notes&\sxtl MNbebN|\tripler\dql{-2}m{_l}\enotes +\notes&\sxtl MNbebN|\tripler\dql{-4}{_k}{_i}\enotes +%\check +% mesure 35 +\barre\notes\doubler\wh{_K}&\sxtl M{_a}{_d}fda|\bigfl h\cddcu h{_i}\enotes +\notes&\sxtl Madfda|\tripler\dqu{-2}f{_e}\enotes +\notes&\sxtl Madfda|\tripler\dqu2{_d}e\enotes +\notes&\sxtl Madfda|\qu f\enotes +%\check +% mesure 36 +\barre\notes\doubler\wh{_L}&\sxtl M{_N}{_b}ebN|\doubler\uptext{\it rit.}\qu{_g}\enotes +\notes&\sxtl MNbebN|\doubler\qu{_h}\enotes +\notes&\sxtl MNbebN|\doubler\qu{_i}\enotes +\notes&\sxtl MNbebN|\qu j\enotes +%\check +% mesure 37 +\autolines{30}25\relax +\barre\notes\doubler\itenl0L\wh{=K}&\noteskip 1.2\noteskip\sxtl M{=a}{=d}fda|\itenu2m\wh m\enotes +\notes&\sxtl M{_a}dfda|\enotes +\notes&\noteskip 1.15\noteskip\sxtl M{=N}{_d}{_e}dN|\enotes +\notes&\noteskip 1.15\noteskip\sxtl M{_N}{=d}edN|\enotes +%\check +\barre\autolines{15}35\relax +% mesure 38 +\notes\tten0\itenl0L\wh K&\rlap{\sk\zcharnote D{\sl 3}}\ibl0M5\qb0M\qb0{_N}\tqb0d|\tten2\hlp m\enotes +\notes&\rlap{\sk\zcharnote D{\sl 3}}\ibl0d{-5}\qb0{_e}\qb0d\tqb0N\enotes +\notes&\rlap{\sk\zcharnote D{\sl 3}}\ibl0M5\qb0M\qb0N\tqb0d\enotes +\notes&\rlap{\sk\zcharnote D{\sl 3}}\ibl0d{-5}\qb0e\qb0d\tqb0N|\sk\soupir\enotes +% mesure 39 +\barre\notes\tten0\hup K&\rlap{\sk\zcharnote D{\sl 3}}\ibl0M5\qb0M\qb0{_N}\tqb0d|\enotes +\notes&\rlap{\sk\zcharnote D{\sl 3}}\ibl0d{-5}\qb0{_e}\qb0d\tqb0N|\sk\sk\pause\enotes +\NOtes&\itenl3L\hl L\enotes +\NOtes\itenl2J\qu J&|\enotes +%\check +% mesure 40 +\barre\nspace\autolines{11}45\relax +\NOtes\tten2\zwq J&\tten3\zwq L\itenl1L|\uptext{\it a tempo}\qu c\enotes +\NOtes&\wh{=N}|\qu{_d}\enotes +\NOtes&\itenu2c\hup c|\qu g\enotes +\NOtes&|\qu{_h}\enotes +\NOtes&|\qu{_i}\enotes +% mesure 41 +% +% croche et deux doubles croches (1ere = 3eme) +\def\cddcu#1#2{\ibu0{#1}0\qh0{#1}\trioskip + \nbbu0\qh0{#2}\tqh0{#1}}% +\def\cddcl#1#2{\ibl0{#1}0\qb0{#1}\trioskip + \nbbl0\qb0{#2}\tqb0{#1}}% +% +\barre +\nspace\notes\doubler\hu{_H}&\doubler\tten1\itenl1L\relax +\tten2\itenu2c\zwq L\zwq c\hl{_a}|\cddcu g{_h}\enotes +\notes&|\dqu3{_e}f\enotes +\NOTEs\itenu0J\hup J&\hl{N}|\hu g\enotes +\NOtes&\ql{a}|\qu j\enotes +% mesure 42 +\barre\notes\tten0\wh J&\tten1\tten2\itenu1c\itenl2L\zw{LNc}\relax + |\cddcu gf\enotes +\notes&|\dqh3ef\enotes +\NOtes&|\qu g\enotes +\NOtes&|\qu{_h}\enotes +% mesure 43 +\barre\NOtes\wh{_H}&\tten1\tten2\itenl1N\zw{_ac}\wh L|\qu{_i}\enotes +\NOtes&|\qu j\enotes +\NOtes&|\qu k\enotes +\notes&|\dql3l{^m}\enotes +% mesure 44 +\barre\nspace\NOtes\zwq E&\tten1\itenu2e\zwq{be}\zwq{^N}|\ql{^n}\enotes +\NOtes&|\ql l\enotes +\notes&|\cddcu i{^j}\enotes +\notes&|\dqu3{^g}h\enotes +\NOtes&|\qu i\enotes +% mesure 45 +\barre\NOtes\zwq J&\tten2\itenu1c\zwq{ce}\zwq{=N}|\ql j\enotes +\NOtes&|\qu{=g}\enotes +\notes&|\cddcu e{^f}\enotes +\notes&|\dqu3cd\enotes +\NOtes&|\qu e\enotes +% mesure 46 +\barre\NOtes\zw{^G}&\tten1\itenu1c\zw{ac_e}|\qu{^f}\enotes +\NOtes&|\qu{^g}\enotes +\NOtes&|\qu{^h}\enotes +\notes&|\dql3jk\enotes +%\check +% mesure 47 +\barre\NOtes\zwq J&\tten1\zwq{Lc}\kern 3pt\qsk\zhl M|\ql l\enotes +\NOtes&|\ql j\enotes +\notes&\hl{_a}|\na g\cddcu g{=h}\enotes +\notes&|\dqu3e{=f}\enotes +\NOtes&\ql N|\qu g\enotes +% mesure 48 +\barre\nspace\NOtes\zwq{_G}&\lfl a\zwq{_Nc}\qsk\zwq a|\qu{_h}\enotes +\NOtes&|\qu{_i}\enotes +\NOtes&|\ql j\enotes +\notes&|\dql3kl\enotes +\NOtes&|\ql{^m}\enotes +\cleftoksii={{0}{0}{0}{0}}\changeclefs +% mesure 49 +\barre\NOtes\zwq E&\zw b\zwq{b^g}\zw d|\ql{^n}\enotes +\NOtes&|\ql l\enotes +\notes&|\cddcu i{^j}\enotes +\notes&|\dqu3{^g}{^h}\enotes +\NOtes&\qu{^d}|\qu{^i}\enotes +% mesure 50 +\barre\NOtes\zwq{^J}&\lsh f\zwq{^c^g}\qsk\hu f|\qsk\ql{^j}\enotes +\NOtes&|\qu{^g}\enotes +\notes&\hu d|\bigna e\cddcu e{^f}\enotes +\notes&|\dqu3{^c}d\enotes +\NOtes&\qu e|\qu e\enotes +% mesure 51 +\barre\NOtes\wh F&\lna c\rlap{\qsk\hup c}\zw{a=f}|\qu f\enotes +\NOtes&|\qu{=c}\enotes +\notes&|\dqu3de\enotes +\NOtes&\qu{_d}|\qu f\enotes +% mesure 52 +\barre\autolines{10}35\nspace +\NOtes\wh{_E}&\bigna d\lfl b\rlap{\qsk\hup d}\zw{b_g}|\qu{_g}\enotes +\NOtes&|\qu{_d}\enotes +\notes&|\bigfl e\dqu3{e}f\enotes +\NOtes&\qu{_e}|\qu g\enotes +% mesure 53 +\barre\nspace\NOtes\wh{=E}&\lna e\rlap{\qsk\hup e}\zw{=b_h}|\qu{_h}\enotes +\NOtes&|\qu{=e}\enotes +\notes&|\dqu3{_g}{_h}\enotes +\NOtes&\qu f|\qu{_i}\enotes +% mesure 54 +\barre\NOtes\zwq J&\zwq{cf}\qsk\zw g|\ql j\enotes +\notes&|\cddcu gf\enotes +\notes&|\dqu{-2}ed\enotes +\notes&|\dqu2cd\enotes +\NOtes&\qu{_h}|\qu e\enotes +% mesure 55 +\barre\nspace\NOtes\wh H&\lfl d\zw{c=f}\qsk\zw{dg}|\qu{^f}\enotes +\notes&|\dqu{-2}gf\enotes +\notes&|\dqu{-2}ih\enotes +\notes&|\noteskip 0.9\noteskip\ibu0g{-1}\qh0g\zcharnote n{\sl 3}\relax +\qh0{^f}\tqh0{=f}\enotes +\cleftoksii={{6}{0}{0}{0}}\changeclefs +% mesure 56 +\barre\nspace\NOtes\wh J&\fl a\fl e\zw{Nd}\qsk\zw{ae}|\qu{=e}\enotes +\notes&|\bigsh f\dqu{-2}{f}e\enotes +\notes&|\dqu3{^g}{^h}\enotes +\notes&|\dqu3jk\enotes +%\check +% mesure 57 +\barre\bigaccid +\NOtes\zwq C&\zwq{Nc=e}|\ql l\enotes +\NOtes&|\ql j\enotes +\notes&|\cddcu gh\enotes +\notes&|\dqu{-2}{^f}e\enotes +\notes&|\dqu{-2}dc\enotes +%\check +% mesure 58 +\barre\NOtes\wh{_H}&\zw{^M}\rw d\wh{_e}|\qu{_e}\enotes +\notes&|\trioskip\fl f\ibu0f0\qh0f\zcharnote l{\sl 3}\qh0e\tqh0f\enotes +\notes&|\dqu2ef\enotes +\notes&|\dqu2de\enotes +% mesure 59 +\barre\NOtes\wh J&\zw{Nb}\rw c\wh{=e}|\qu{=e}\enotes +\notes&|\dqu{-2}{=f}e\enotes +\notes&|\dqu4gi\enotes +\notes&|\dqu4jl\enotes +% mesure 60 +\barre\NOtes\wh{_G}&\fl N\zw M\rw N\rw d\wh c|\ql{^m}\enotes +\notes&|\trioskip\ibl0l0\qb0l\zcharnote c{\sl 3}\qb0m\tqb0l\enotes +\notes&|\dqb{-2}kj\enotes +\notes&|\dqu{-2}{_i}{_h}\enotes +% mesure 61 +\barre\NOtes\wh H&\sh M\zw M\zw a\wh d|\qu{=h}\enotes +\notes&|\trioskip\ibu0e0\qh0{^f}\zcharnote n{\sl 3}\qh0e\tqh0f\enotes +\notes&|\dqu2de\enotes +\notes&|\dqu6fi\enotes +% mesure 62 +\barre\NOTEs\hup E&\itenu0a\zwq a\qsk\zhp L\hup N|\hu h\enotes +\notes&|\trioskip\ibu0g{-1}\qhp0g\sk\tbbu0\tqh0{^f}\enotes +\NOTEs\hu D&\itenu1d\zh {^M}\hu d|\hu f\enotes +\resp +% mesure 63 +\barre\Notes\itenl3D\zwq D&\tten0\tten1\itenu1d\zwq{^fad}|\qu d\enotes +\Notes&|\qu{_e}\enotes +\Notes&|\qu h\enotes +\Notes&|\qu{_i}\enotes +\Notes&|\qu j\enotes +% mesure 64 +\barre\notes\tten3\itenl3D\zwq D&\tten1\itenu1d\zh L\zhl N\zwq d|\cddcu h{_i}\enotes +\notes&|\dqu2{^f}g\enotes +\NOTEs&\itenl0M\zhu a\hlp{^M}|\hu h\enotes +\NOtes&\qu{_b}|\ql k\enotes +%\check +% mesure 65 +\barre\notes\tten3\itenl3D\zwq D&\tten0\tten1\itenu1d\zhp{^M}\zwq d\hlp a|\cddcu h{_i}\enotes +\notes&|\dqu2{^f}g\enotes +\NOtes&|\qu h\enotes +\notes&\zh{LN}\hl{_b}|\dqu2gh\enotes +\notes&|\dqu2gh\enotes +% mesure 66 +\barre\notes\tten3\itenl3D\zw D&\tten1\itenu1d\zh{^M}\zw d\hl a|\sh f\cddcu fe\enotes +\NOtes&|\qu d\enotes +\notes&\zh{LN}\hl{_b}|\dqu2gh\enotes +\notes&|\dqu2gh\enotes +% mesure 67 +\barre\notes\tten3\itenl3D\zw D&\tten1\zh{^M}\zw d\hl a|\sh f\cddcu fe\enotes +\NOtes&|\qu d\enotes +\notes&\zh{LN}\itenu2b\hl{_b}|\dqu2gh\enotes +\notes&|\dqu2gh\enotes +% mesure 68 +\barre\nspace\NOTes\tten3\itenl3D\zw D&\tten2\lfl b\zw{_L_Nb_e}|\hl{_i}\enotes +\NOtes&|\ql j\enotes +\NOtes&|\sh j\ql j\enotes +% mesure 69 +\barre\NOTes\tten3\zwq D\pointdorgue 8&\na L\na N\zwq{Kd}\qsk\itenl2N\zh L\hu N|\pointdorgue m\zwq k\enotes +\NOTes&\tten2\zh N\hu {_b}\enotes +\NOtes&\zq{^M}\pointdorgue {11}\qu a\enotes +\finmorceau +\rightline{\sl\aujourdhui}\vfil\eject +\varaccid + +\ifx\toc\undefined + \let\finishpiece \end +\else + \let\finishpiece\relax +\fi +\finishpiece +\endinput + diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/scale.tex b/Master/texmf-dist/doc/generic/musixtex/examples/scale.tex new file mode 100644 index 00000000000..ac0d005ce91 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/examples/scale.tex @@ -0,0 +1,67 @@ +\voffset-15.4mm\vsize=259mm +\hoffset-10.4mm\hsize=185mm +\nobarnumbers\nopagenumbers +\smallmusicsize\relativeaccid +\parindent45pt +\def\scale#1#2{\setname1{\vbox{\hbox{#1}\hbox{#2}}\hfill}% + \startpiece\addspace\afterruleskip + \notesp\qa{cdefg'abcba`gfedc}\en\setdoublebar\bar + \notesp\qa{abcde^f^g'a`=g=fedcba}\en\endpiece} +\def\german{\parindent45pt\def\Dur{Dur}\def\Moll{Moll} + \def\C{C}\def\Cis{Cis}\def\Des{Des}\def\D{D}\def\Es{Es}\def\E{E} + \def\F{F}\def\Fis{Fis}\def\Ges{Ges}\def\G{G}\def\As{As}\def\A{A} + \def\B{B}\def\H{H}\def\Ces{Ces} + \def\a{a}\def\ais{ais}\def\b{b}\def\h{h}\def\c{c}\def\cis{cis} + \def\d{d}\def\dis{dis}\def\es{es}\def\e{e}\def\f{f}\def\fis{fis} + \def\g{g}\def\gis{gis}\def\as{as}} + +\def\flat{\raise 0.5\Interligne\hbox{\musicsixteen 2}} +\def\sharp{\raise1.0\Interligne\hbox{\hskip1pt\musicsixteen 4}} +\def\english{\parindent45pt\def\Dur{major}\def\Moll{minor} + \def\C{C}\def\Cis{C\sharp}\def\Des{D\flat}\def\D{D}\def\Es{E\flat}\def\E{E} + \def\F{F}\def\Fis{F\sharp}\def\Ges{G\flat}\def\G{G}\def\As{A\flat}\def\A{A} + \def\B{B\flat}\def\H{B}\def\Ces{C\flat} + \def\a{a}\def\ais{a\sharp}\def\b{b\flat}\def\h{b}\def\c{c}\def\cis{c\sharp} + \def\d{d}\def\dis{d\sharp}\def\es{e\flat}\def\e{e}\def\f{f}\def\fis{f\sharp} + \def\g{g}\def\gis{g\sharp}\def\as{a\flat}} + +%--\german +\english + +\startmuflex +\transpose0 \generalsignature{-7} \scale{\Ces-\Dur}{\as-\Moll} +\vfil\hrule\vfil +\transpose4 \generalsignature{-6} \scale{\Ges-\Dur}{\es-\Moll} +\transpose1 \generalsignature{-5} \scale{\Des-\Dur}{\b-\Moll} +\transpose5 \generalsignature{-4} \scale{\As-\Dur}{\f-\Moll} +\transpose2 \generalsignature{-3} \scale{\Es-\Dur}{\c-\Moll} +\transpose6 \generalsignature{-2} \scale{\B-\Dur}{\g-\Moll} +\transpose3 \generalsignature{-1} \scale{\F-\Dur}{\d-\Moll} +\transpose0 \generalsignature0 \scale{\C-\Dur}{\a-\Moll} +\transpose4 \generalsignature1 \scale{\G-\Dur}{\e-\Moll} +\transpose1 \generalsignature2 \scale{\D-\Dur}{\h-\Moll} +\transpose5 \generalsignature3 \scale{\A-\Dur}{\fis-\Moll} +\transpose2 \generalsignature4 \scale{\E-\Dur}{\cis-\Moll} +\transpose6 \generalsignature5 \scale{\H-\Dur}{\gis-\Moll} +\transpose3 \generalsignature6 \scale{\Fis-\Dur}{\dis-\Moll} +\vfil\hrule\vfil +\transpose0 \generalsignature7 \scale{\Cis-\Dur}{\ais-\Moll} +\eject\musicparskip +\transpose0 \generalsignature0 \scale{\C-\Dur}{\a-\Moll} +\transpose0 \generalsignature7 \scale{\Cis-\Dur}{\ais-\Moll} +\transpose1 \generalsignature{-5} \scale{\Des-\Dur}{\b-\Moll} +\transpose1 \generalsignature2 \scale{\D-\Dur}{\h-\Moll} +\transpose2 \generalsignature{-3} \scale{\Es-\Dur}{\c-\Moll} +\transpose2 \generalsignature4 \scale{\E-\Dur}{\cis-\Moll} +\transpose3 \generalsignature{-1} \scale{\F-\Dur}{\d-\Moll} +\transpose3 \generalsignature6 \scale{\Fis-\Dur}{\dis-\Moll} +\transpose4 \generalsignature{-6} \scale{\Ges-\Dur}{\es-\Moll} +\transpose4 \generalsignature1 \scale{\G-\Dur}{\e-\Moll} +\transpose5 \generalsignature{-4} \scale{\As-\Dur}{\f-\Moll} +\transpose5 \generalsignature3 \scale{\A-\Dur}{\fis-\Moll} +\transpose6 \generalsignature{-2} \scale{\B-\Dur}{\g-\Moll} +\transpose6 \generalsignature5 \scale{\H-\Dur}{\gis-\Moll} +\transpose7 \generalsignature{-7} \scale{\Ces-\Dur}{\as-\Moll} +\transpose7 \generalsignature0 \scale{\C-\Dur}{\a-\Moll} +\endmuflex +\eject\bye diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/widor.tex b/Master/texmf-dist/doc/generic/musixtex/examples/widor.tex index 25e4d9304a8..5fc02a89f89 100644 --- a/Master/texmf-dist/doc/generic/musixtex/examples/widor.tex +++ b/Master/texmf-dist/doc/generic/musixtex/examples/widor.tex @@ -176,6 +176,7 @@ \ifnum\musicsize=16\relax \autolines{19}47\else \autolines{19}36\fi +\ifx\undefined\horizontalscore \else\autolines{19}54\fi %\check % \bigaccid @@ -196,21 +197,22 @@ \ifnum\musicsize=16\relax \autolines {17}47\else \autolines {17}36\fi +\ifx\undefined\horizontalscore \else\autolines{17}54\fi \zbnotes\tbuqr kjhf|\umotif r!q!q!o!m\enotes \tnotes\na i\tbuq lige|\umotif s=p!p!n!m\enotes % mesure 3 \bnotes\lmotbba jgec|\umotif q=p!n!l!j\enotes -\tnotes\na i\tbuq igec|\umotif p!o!n!l!j\enotes +\nspace\tnotes\na i\tbuq igec|\na p\umotif p!o!n!l!j\enotes \zbnotes\tbuqr hgec|\umotif o!n!n!l!j\enotes \tnotes\tbuq igec|\umotif p!o!n!l!j\enotes % mesure 4 \bnotes\lmotbba jgec|\umotif q=p!n!l!j\enotes -\tnotes\na i\tbuq igec|\umotif p!o!n!l!j\enotes +\nspace\tnotes\na i\tbuq igec|\na p\umotif p!o!n!l!j\enotes \zbnotes\tbuqr hgec|\umotif o!n!n!l!j\enotes -\tnotes\sh f\na i\tbut ifd|\umotif p^m!m!k!j\enotes +\tnotes\sh f\na i\tbut ifd|\na p\umotif p^m!m!k!j\enotes % mesure 5 \bnotes\na b\lmotbbc gdbN|\umotif n^m!k=i!g\enotes -\tnotes\sh c\tbut gec|\umotif o^n!l^j!h\enotes +\nspace\tnotes\sh c\tbut gec|\umotif o^n!l^j!h\enotes \zbnotes\tbutr gfd|\umotif o=m!m!k!h\enotes \tnotes\sh c\tbut gec|\umotif o^n!l^j!h\enotes % mesure 6 @@ -221,7 +223,7 @@ \tnotes\tbut hfd|\umotif p!o!m!k!i\enotes % mesure 7 \bnotes\lmotbbb ge!N|\na p\umotif p!n!n!l=i\enotes -\tnotes\fl i\tbut ige|\umotif q!p!n!l!j\enotes +\nspace\tnotes\fl i\tbut ige|\umotif q!p!n!l!j\enotes \zbnotes\tbut ifd|\umotif q!m!m!k!j\enotes \tnotes\tbutr ihf|\umotif q!o!o!m!j\enotes % mesure 8 @@ -266,14 +268,14 @@ \tnotes\doubler\qlp e\sk\sk\cu G&\na i\tbut lig|\umotif s=p!p!n!m\enotes % mesure 11 \bnotes\itenu1c\wh c&\lmotbba jgec|\umotif q=p!n!l!j\enotes -\tnotes&\na i\tbuq igec|\umotif p!o!n!l!j\enotes +\nspace\tnotes&\na i\tbuq igec|\na p\umotif p!o!n!l!j\enotes \zbnotes\tten1\hl c&\tbuqr hgec|\umotif o!n!n!l!j\enotes -\tnotes\hpause&\na i\tbuq igec|\umotif p!o!n!l!j\enotes +\tnotes\hpause&\na i\tbuq igec|\na p\umotif p!o!n!l!j\enotes % mesure 12 \bnotes\doubler\qlp c\sk\sk\cu C&\lmotbba jgec|\umotif q=p!n!l!j\enotes -\tnotes\doubler\qlp{=b}\sk\sk\cu C&\na i\tbuq igec|\umotif p!o!n!l!j\enotes +\nspace\tnotes\doubler\qlp{=b}\sk\sk\cu C&\na i\tbuq igec|\na p\umotif p!o!n!l!j\enotes \zbnotes\doubler\qlp a\sk\sk\cu C&\tbuqr hgec|\umotif o!n!n!l!j\enotes -\tnotes\doubler\qlp b\sk\sk\cu D&\sh f\na i\tbut ifd|\umotif p^m!m!k!j\enotes +\tnotes\doubler\qlp b\sk\sk\cu D&\sh f\na i\tbut ifd|\na p\umotif p^m!m!k!j\enotes % mesure 13 \bnotes\whp N&\na b\lmotbbc gdbN|\umotif n^m!k=i!g\enotes \tnotes&\tbut gec|\umotif n!m!l!j!g\enotes @@ -292,6 +294,7 @@ q!o!o!n^j\enotes \autolines{17}46\else \autolines{17}35\relax \fi +\ifx\undefined\horizontalscore \else\autolines{17}53\fi \bnotes\itenu1K\wh K&\lmotbbd hfd|\umotif r^q!o!m!k\enotes \tnotes&\tbud hf|\umotif r!q!o!m!k\enotes \zbnotes\tten1\hl K&\na i\tbut ifd|\na p\umotif p!o!o!m!k\enotes @@ -302,32 +305,32 @@ ifd|\na p\umotif p^o^m^k=i\enotes \tnotes\doubler\qlp a\sk\sk\cu H&\tbut ifd|\umotif p!o!m!k!i\enotes \zbnotes\doubler\qlp N\sk\sk\cu G&\tbut ige|\sh q\umotif q!n!n!l^j\enotes -\tnotes\doubler\qlp{^M}\sk\sk\cu{^F}&\sh f\tbutr ihf|\sh r\umotif +\tnotes\doubler\qlp{^M}\sk\sk\cu{^F}&\na i\sh f\tbutr ihf|\sh r\umotif r!p!p!o^k\enotes %\check % mesure 17 \bnotes\itenu1L\wh L&\na i\dbud ig\ddbud ge|\umotif s^r=p!n!l\enotes \tnotes&\dbud ig\but ige|\umotif s!r!p!n!l\enotes -\zbnotes\tten1\hl L&\tbut jge|\umotif q!p!p!n!l\enotes -\tnotes\hpause&\tbut kge|\na r\umotif r!p!p!n!l\enotes +\zbnotes\tten1\hl L&\tbut jge|\umotif q=p!p!n!l\enotes +\tnotes\hpause&\tbut kge|\na r\umotif r=p!p!n!l\enotes % mesure 18 \bnotes\doubler\fl b\qlp b\sk\sk\cu I&\dbut jge\bud ge|\umotif q=p!n!l!j\enotes \tnotes\doubler\qlp b\sk\sk\cu I&\dbut jge\bud ge|\umotif q!p!n!m!j\enotes \zbnotes\doubler\qlp a\sk\sk\cu H&\dbuqr kjhf\but jhf|\umotif r^q!o!m!k\enotes -\tnotes\doubler\qlp N\sk\sk\cu G&\tbuqr ljig\relax +\tnotes\doubler\qlp N\sk\sk\cu G&\fl i\tbuqr ljig\relax |\varaccid\ibbl0{p}0\ilegu0{s}\qb0{s}\tleg0\qb0{^r}% \qbupz{s}\qbupz{=q}\qbupz{_p}\qbupz{n}\qbupz{p}\tbl0\qbupz{s}\enotes % mesure 19 \bnotes\doubler\qlp M\sk\sk\cu F&\lmotbba mkhf|\umotif t!s!r!n!m\enotes -\tnotes\doubler\qlp N\sk\sk\cu G&\sh j\tbuqr lijg|\umotif s^r^q!p!n\enotes -\zbnotes\doubler\qlp M\sk\sk\cu F&\tbut khf|\sh q\umotif +\nspace\tnotes\doubler\qlp N\sk\sk\cu G&\sh j\tbuqr lijg|\umotif s^r^q!p!n\enotes +\nspace\zbnotes\doubler\qlp M\sk\sk\cu F&\tbut khf|\sh q\umotif r!q!o!m!l\enotes \tnotes\doubler\qlp L\sk\sk\cu E&\na j\tbut jhe|\na q\umotif q!o!o!l!j\enotes % mesure 20 -\bnotes\doubler\qlp K\sk\sk\cu D&\tbutr ihd|\umotif p!o!o!m!i\enotes +\bnotes\doubler\qlp K\sk\sk\cu D&\fl i\tbutr ihd|\umotif p!o!o!m!i\enotes \tnotes\doubler\qlp L\sk\sk\cu E&\tbut ige|\umotif p!n!n!l!i\enotes \zbnotes\doubler\qlp{^J}\sk\sk\cu{^C}&\sh c\tbutr hgc|\umotif o!n!n!l!h\enotes @@ -358,7 +361,7 @@ oki\na p\blt pki\enotes \tnotes&\tblt dbN|\mmotif k!i!i!g!e\enotes % mesure 25 \bnoteP&\umotif e^d=b^N!L|\lsh g\na i\dblt lig\ddblt lig\enotes -\tnotes&\umotif d^c!b!N!L|\sh k\tblt kig\enotes +\nspace\tnotes&\umotif d^c!b!N!L|\sh k\tblt kig\enotes \zbnotes\sk\hpause&\qsk\sh c\umotif c=b!b^N!L|\sh g\sh j\lna i\qsk\tbltl jig\enotes \tnotes\lpz E\qu E\sk\sk\sk\soupir&\umotif c^a!a!N!L|\relax \sh h\sh n\dblt njh\sh o\blt ojh\enotes @@ -371,17 +374,17 @@ ebN\ddbld bN|\fl l\mmotif l!k!i!g_e\enotes j!i!i!g!e\enotes \global\cleftoksii={{0}{0}{0}{0}}\changeclefs \tnotes\ilegl1G\fl L\hl L&\sh c\dbutmr gcb\zq g\rq c\culpz b|\umotif - n^m!j!i!g\enotes + n^m^j!i!g\enotes % mesure 27 \bnotes\tleg1\hu G&\na b\dbut gdb\ddbud db|\umotif n^m!k=i!g\enotes -\tnotes\sk\hpause&\sh f\tbut fdb|\umotif m!k!k!i!g\enotes +\nspace\tnotes\sk\hpause&\sh f\tbut fdb|\umotif m!k!k!i!g\enotes \zbnotes\Pause&\sh e\tbutr edb|\bigsh l\umotif l!k!k!i!g\enotes \tnotes\ilegl1I\hl N&\na i\tbutr ied|\bigna p\umotif p^o!l!k!i\enotes % mesure 28 %\check \bnotes\na I\tleg1\hu I&\na i\lsh f\sh d\dbut ifd\ddbud fd|\na p\umotif p^o^m^k=i\enotes -\tnotes\sk\hpause&\sh h\tbut hfd|\umotif o!m!m!k!i\enotes +\nspace\tnotes\sk\hpause&\sh h\tbut hfd|\sh o\umotif o!m!m!k!i\enotes \zbnotes\Pause&\na h\tbut hfd|\na o\umotif o!m!m!k!i\enotes \tnotes\na b\ilegu1c\hl b&\sh k\dbut khf\zq{kh}\culpz f|\sh r\umotif r!o!o!m!k\enotes @@ -389,11 +392,11 @@ ebN\ddbld bN|\fl l\mmotif l!k!i!g_e\enotes %\check \bnotes\fl b\tleg1\hl b&\na f\lfl i\na k\dbut kif\ddbut ifd|\na r\umotif r^q!p!m!k\enotes -\tnotes\doubler\soupir\sk\dsoupir\cu I\relax +\nspace\tnotes\doubler\soupir\sk\dsoupir\cu I\relax &\fl g\fl l\dbutmr lhg\rq h\lpz g\cu g|\fl s\umotif s!o!o_n_l\enotes \zbnotes\hl b&\dbut kif\ddbut ifd|\na r\umotif r^q!o!m!k\enotes -\tnotes\doubler\soupir\sk\dsoupir\cu I\relax +\nspace\tnotes\doubler\soupir\sk\dsoupir\cu I\relax &\fl g\fl l\dbutmr lhg\rq h\lpz g\zq l\cu g|\fl s\umotif s!o!o_n_l\enotes % mesure 30 @@ -443,7 +446,7 @@ ebN\ddbld bN|\fl l\mmotif l!k!i!g_e\enotes %\check % mesure 35 \bnotes\pedalepause\manuale\dbut hec\ddbud ec|\umotif o^n!l!j!h\enotes -\tnotes\manuale\bigsh g\tbut gec|\umotif n!m!l!j!h\enotes +\nspace\tnotes\manuale\bigsh g\tbut gec|\umotif n!m!l!j!h\enotes \zbnotes\pedalepause\manuale\tbutr fec|\umotif m!l!l!j!h\enotes \tnotes\manuale\sh g\tbut gec|\bigsh n\umotif n!l!l!j!h\enotes % @@ -452,7 +455,7 @@ ebN\ddbld bN|\fl l\mmotif l!k!i!g_e\enotes \ifnum\musicsize=16\advance\linesinpage by -1\relax\fi % \bnotes\pedalepause\manuale\mmotif h^g!e!c!a|\dblt olj\ddblt olj\enotes -\tnotes\manuale\mmotif g!f!e!c!a|\bigsh n\tblq nljh\enotes +\nspace\tnotes\manuale\mmotif g!f!e!c!a|\bigsh n\tblq nljh\enotes \zbnotes\pedalepause\manuale\mmotif f!e!e!c!a|\tblql mljh\enotes \tnotes\manuale\mmotif g^d!d!b!a|\bigsh k\tblql nhki\enotes % @@ -495,7 +498,7 @@ ebN\ddbld bN|\fl l\mmotif l!k!i!g_e\enotes % mesure 41 \bnotes\pedalepause\manuale\qsk\zcharnote f{\llap{\pp}}\lsh N\tbltl cbN|\qsk \mmotif j!i!i^g^e\enotes -\tnotes\manuale\tbltl cbM|\bigsh k\mmotif k!i!i!g^d\enotes +\nspace\tnotes\manuale\tbltl cbM|\bigsh k\mmotif k!i!i!g^d\enotes \qspace \zbnotes\pedalepause\manuale\bigaccid\lsh a\tbltl cba|\bigna l\mmotif l!j!j!i=e\enotes \qspace @@ -503,13 +506,13 @@ ebN\ddbld bN|\fl l\mmotif l!k!i!g_e\enotes \ifnum\nbinstruments=1\relax \global\cleftoksi={{0}{0}{0}{0}}\else \global\cleftoksi={{6}{0}{0}{0}}\global\cleftoksii={{0}{0}{0}{0}}\fi -\addspace{-\afterruleskip}\changeclefs\notes\manuale \zcharnote N{\register{II}}\enotes +\addspace{-2\afterruleskip}\changeclefs\notes\manuale \zcharnote N{\register{II}}\enotes %\check % mesure 42 \bnotes\pedalepause\manuale \zcharnote o{\it cresc.}\relax \zwp{^a}\Dbud fc\ddbud fc|\zcharnote r{(III)}\umotif m!j!j^h!f\enotes -\tnotes\manuale\bigna f\Tbud fc|\bigna m\umotif m=l!j!h=f\enotes +\nspace\tnotes\manuale\bigna f\Tbud fc|\bigna m\umotif m=l!j!h=f\enotes \zbnotes\pedalepause\manuale\Tbud ec|\umotif l^k!j!h!e\enotes \tnotes\manuale\zhl c\bigsh h\Tbud he|\bigsh o\umotif o!l!l!j!h\enotes % @@ -541,7 +544,7 @@ ebN\ddbld bN|\fl l\mmotif l!k!i!g_e\enotes \bigsh g\bigsh l\zhl g\Dbud lj\budr ji|\zcharnote r{\llap{\register{II}}}\qsk \bigsh s\umotif s>r!q!p^l\enotes \tnotes\manuale\zhl h\bigna j\Tbud mj|\umotif t=q!q!o!m\enotes -\zbnotes\pedalepause\manuale\zhl g\bigsh j\Dbud lj\ddbudr ji|\umotif s!r^q!p!l\enotes +\zbnotes\pedalepause\manuale\zhl g\bigsh j\Dbud lj\loff{\ddbudr ji}|\umotif s!r^q!p!l\enotes \tnotes\manuale\qsk\zhl h\bigna j\Tbud mj|\qsk\umotif t=q!q!o!m\enotes % %\check @@ -594,12 +597,12 @@ b&\qsk\lfl h\na i\zcharnote N{\llap{\register{I}}}\qsk \tnotes\doubler\zh E\hu L&\zhl e\na i\Tbut lig|\umotif s=p!p!n!m\enotes % mesure 52 \bnotes\zbv C\zbv J&\zbv c\Dbut jge\ddbut jge|\umotif q=p!n!l!j\enotes -\tnotes&\na i\Tbut ige|\umotif p!o!n!l!j\enotes +\nspace\tnotes&\na i\Tbut ige|\umotif p!o!n!l!j\enotes \zbnotes&\Tbutr hge|\umotif o!n!n!l!j\enotes \tnotes&\Tbut ige|\umotif p!o!n!l!j\enotes % mesure 53 \bnotes\doubler\zh J\hl c&\dbut jge\ddbud ge|\umotif q=p!n!l!j\enotes -\tnotes\doubler\zh{=I}\hl{=b}&\na i\tbut ige|\umotif p!o!n!l!j\enotes +\nspace\tnotes\doubler\zh{=I}\hl{=b}&\na i\tbut ige|\umotif p!o!n!l!j\enotes \zbnotes\doubler\zh H\hl a&\tbutr hge|\umotif o!n!n!l!j\enotes \tnotes\doubler\zh I\hl b&\sh f\na i\tbuqr idfc|\umotif p^m!m!k!j\enotes % mesure 54 @@ -633,7 +636,7 @@ r!p!p!o^k\enotes \bnotes\itenl2E\itenu1L\zw E\wh L&\na i\dbud ig\ddbud ge|\umotif s^r=p!n!l\enotes \tnotes&\dbud ig\but ige|\umotif s!r!p!n!l\enotes -\zbnotes\tten2\tten1\zh E\hu L&\tbut jge|\umotif q!p!p!n!l\enotes +\zbnotes\tten2\tten1\zh E\hu L&\tbut jge|\umotif q=p!p!n!l\enotes \tnotes\hpause&\tbut kge|\na r\umotif r!p!p!n!l\enotes % mesure 59 \bnotes\doubler\fl b\fl I\zh b\hu I&\dbut jge\bud ge|\umotif q=p!n!l!j\enotes @@ -645,9 +648,9 @@ r^q!o!m!k\enotes \qbupz{s}\qbupz{=q}\qbupz{_p}\qbupz{n}\qbupz{p}\tbl0\qbupz{s}\enotes % mesure 60 \bnotes\doubler\zh M\hu F&\lmotbba mkhf|\umotif t!s!r!n!m\enotes -\tnotes\doubler\zh N\hu G&\sh j\tbuqr lijg|\umotif s^r^q!p!n\enotes -\zbnotes\doubler\zh M\hu F&\tbut khf|\sh q\umotif -r!q!o!m!l\enotes +\nspace\tnotes\doubler\zh N\hu G&\sh j\tbuqr lijg|\umotif s^r^q!p!n\enotes +\zbnotes\doubler\zh M\hu F&\tbut khf|\umotif +r^q!o!m!l\enotes \tnotes\doubler\zh L\hu E&\na j\tbut jhe|\na q\umotif q!o!o!l!j\enotes % mesure 61 @@ -664,7 +667,7 @@ o!n!n!l!h\enotes %\check % mesure 63 \bnotes\zbv F&\dblql mkjf\ddbutr kjf|\umotif t!r!r!q!m\enotes -\tnotes&\dblq mkif\but kif|\umotif t!r!r!p!m\enotes +\nspace\tnotes&\dblq mkif\but kif|\umotif t!r!r!p!m\enotes \zbnotes&\dblql mijf\bltl jif|\umotif t!q!q!p!m\enotes \tnotes&\dblq mjhf\bld jf|\umotif t!q!q!o!m\enotes %\check @@ -704,7 +707,7 @@ o!n!n!l!h\enotes % % mesure 69 \bnotes\doubler\ql f\sk\soupir&\dbut ifd\ddblt ifd|\Mmotif ihhfd\enotes -\tnotes\doubler\pt 5\soupir\sk\sk\cl M&\bigna e\tblt ige|\Mmotif igged\enotes +\nspace\tnotes\doubler\pt 5\soupir\sk\sk\cl M&\bigna e\tblt ige|\Mmotif igged\enotes \zbnotes\doubler\ql f\sk\soupir&\dbut hec\ddbut hec|\Mmotif hggec\enotes \tnotes\doubler\pt 5\soupir\sk\sk\cu F&\tbut hfd|\Mmotif hffda\enotes % @@ -724,6 +727,7 @@ o!n!n!l!h\enotes \zq{hfc}\lpz a\qu a\sk\soupir|\Mmotif fecaM\enotes \tnotes\sk\hpause&\Mmotif hgfda|\doubler \ibu0h0\zq{hf}\qhlpz a\tbu0\zq{hf}\qhlpz a\soupir\enotes + \ifx\undefined\horizontalscore \else\autolines{17}43\fi % % mesure 72 \bnotes\doubler\upz M\ql M\sk\soupir&\doubler @@ -764,9 +768,11 @@ o!n!n!l!h\enotes % mesure 76 \ifnum\musicsize=16\relax \elemskip=0.66\elemskip\advance\barsinline by -1\fi +\ifx\undefined\horizontalscore\else + \elemskip=0.66\elemskip\advance\barsinline by -1\fi \barre\NOTes\pause&\pause|\zbv t\itenu1t\pause\sk\enotes \tnotes\midtwotext{\fff}&\midtwotext{\fff}\enotes -\temps\NOTEs\wh F|\fl e\zw e\rw f\zw h\wh j|\zw m\zw o\wh q\sk\enotes +\temps\NOTEs\wh F&\fl e\zw e\rw f\zw h\wh j|\zw m\zw o\wh q\sk\enotes % % mesure 77 \barre\NOTEs\qsk\wh I&\qsk\fl e\zw e\rw f\zw h\wh j|\qsk @@ -777,7 +783,7 @@ o!n!n!l!h\enotes \barre\ifnum\musicsize=16\NOTes\else\NOtes\fi \tinynotesize\itenl2F\cu F&\tinynotesize \zq c\zq f\cu h|\tinynotesize\tinynotesize\zq m\cl o\enotes -\NOTES\tten2\pointdurgue E\zbv F\zbv M|\relax +\NOTES\tten2\pointdurgue E\zbv F\zbv M&\relax \zbv c\zbv f\zbv h\sk|\zbv m\zbv o\tten1\zbv t\pointdorgue t\enotes \temps\temps\finmorceau \rightline{\sl\aujourdhui}\vfil\eject diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/widor_16.tex b/Master/texmf-dist/doc/generic/musixtex/examples/widor_16.tex index 4a0b638da01..24f3ba04a45 100644 --- a/Master/texmf-dist/doc/generic/musixtex/examples/widor_16.tex +++ b/Master/texmf-dist/doc/generic/musixtex/examples/widor_16.tex @@ -1,6 +1,8 @@ -%\input musicnft -%\input musictex -%\input musicsty +\ifx\mxversion\undefined + \input musixtex + \input musixcpt + \input musixsty +\fi \musicsize=16\relax \vsize 275mm @@ -11,6 +13,7 @@ \staffbotmarg\Interligne \resetfacteurs \computewidths +\othermention{\'edition compacte aide-m\'emoire} % \input widor \bye diff --git a/Master/texmf-dist/doc/generic/musixtex/examples/widor_20.tex b/Master/texmf-dist/doc/generic/musixtex/examples/widor_20.tex index 9b39f6417c5..9d318ff5882 100644 --- a/Master/texmf-dist/doc/generic/musixtex/examples/widor_20.tex +++ b/Master/texmf-dist/doc/generic/musixtex/examples/widor_20.tex @@ -1,4 +1,11 @@ -\musicsize=20\relax\hyphenation{re-gis-tra-tion} +\ifx\mxversion\undefined + \input musixtex + \input musixcpt + \input musixsty +\fi + +\musicsize=20\relax +\hyphenation{re-gis-tra-tion} \csname french\endcsname \tracingstats=2\relax \barsinline=0\relax diff --git a/Master/texmf-dist/doc/generic/musixtex/license.txt b/Master/texmf-dist/doc/generic/musixtex/license.txt deleted file mode 100644 index 180cc2345b3..00000000000 --- a/Master/texmf-dist/doc/generic/musixtex/license.txt +++ /dev/null @@ -1,20 +0,0 @@ - - - MusiXTeX may be freely copied, duplicated and used. However, since it is -intended to be a "no cost software" you are not allowed to sell it, and the fee -you may ask for distributing it must be limited to maintenance, support and -duplication costs. You may take it or parts of it to include in other -packages, but no packages called MusiXTeX may be distributed under this name -if different from the original distribution (except obvious bug corrections). - - Adaptations for specific implementations (e.g. fonts) should be provided as -separate additional TeX or LaTeX files which override original definition. - - MusiXTeX may be included in further commercial packages, provided that no -additional fee is charged for MusiXTeX itself. - - Daniel Taupin - mailto:taupin@lps.u-psud.fr - Laboratoire de Physique des solides - batiment 510, centre universitaire - F - 91405 ORSAY cedex diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc.bat b/Master/texmf-dist/doc/generic/musixtex/musixdoc.bat deleted file mode 100644 index fea551442f0..00000000000 --- a/Master/texmf-dist/doc/generic/musixtex/musixdoc.bat +++ /dev/null @@ -1,16 +0,0 @@ -rem cm-ltx2e = latex2e based on cm* fonts -del musixdoc.mx* -call cm-ltx2e musixdoc -if errorlevel 2 goto end -musixflx musixdoc -call cm-ltx2e musixdoc -if errorlevel 2 goto end -makeindx musixdoc.idx -call cm-ltx2e musixdoc -if errorlevel 2 goto end -makeindx musixdoc.idx -call cm-ltx2e musixdoc -call prthplj musixdoc musixdoc.lj -%emtexdir%\bin\dvips32 musixdoc -o musixdoc.ps -P300 -ta4 -:end - diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc.mx1 b/Master/texmf-dist/doc/generic/musixtex/musixdoc.mx1 deleted file mode 100644 index 61ad824438c..00000000000 --- a/Master/texmf-dist/doc/generic/musixtex/musixdoc.mx1 +++ /dev/null @@ -1,937 +0,0 @@ -0.83 -S -284.52756pt -0.0pt -0.0pt -8.0pt -5.99998pt -15.99998pt -16.99997pt -0 0 14.75002pt -0 1 47.99988pt -0 1 0.0pt -0 0 0.4pt -b 1 -1 1 55.99988pt -1 1 0.0pt -1 0 0.4pt -b 2 -2 1 67.99985pt -2 1 0.0pt -2 0 0.4pt -b 3 -r -3 1 55.99988pt -3 1 0.0pt -3 0 0.4pt -b 4 -* 0 0 -4 1 55.99988pt -4 1 0.0pt -4 0 0.4pt -b 5 -5 1 79.99982pt -5 1 0.0pt -5 0 0.4pt -b 6 -r -6 1 85.9998pt -6 1 0.0pt -6 0 0.4pt -b 7 -* 0 0 -7 1 55.99988pt -7 1 0.0pt -7 0 0.4pt -b 8 -r -8 1 55.99988pt -8 1 0.0pt -8 0 4.90004pt -b 9 -* 0 0 -S -284.52756pt -0.0pt -0.0pt -8.0pt -5.99998pt -15.99998pt -16.99997pt -0 0 14.75002pt -0 1 47.99988pt -0 1 0.0pt -0 0 0.4pt -b 1 -1 1 55.99988pt -1 1 0.0pt -1 0 0.4pt -b 2 -2 1 67.99985pt -2 1 0.0pt -2 0 0.4pt -b 3 -3 1 55.99988pt -3 1 0.0pt -3 0 0.4pt -b 4 -4 1 55.99988pt -4 1 0.0pt -4 0 0.4pt -b 5 -5 1 79.99982pt -5 1 0.0pt -5 0 0.4pt -b 6 -6 1 85.9998pt -6 1 0.0pt -6 0 0.4pt -b 7 -7 1 55.99988pt -7 1 0.0pt -7 0 0.4pt -b 8 -8 1 55.99988pt -8 1 0.0pt -8 0 4.90004pt -b 9 -* 0 0 -S -284.52756pt -0.0pt -0.0pt -8.0pt -5.99998pt -15.99998pt -16.99997pt -0 0 14.75002pt -0 1 47.99988pt -0 1 0.0pt -0 0 0.4pt -b 1 -1 1 55.99988pt -1 1 0.0pt -1 0 0.4pt -b 2 -2 1 67.99985pt -2 1 0.0pt -2 0 0.4pt -b 3 -3 1 55.99988pt -3 1 0.0pt -3 0 0.4pt -b 4 -4 1 55.99988pt -4 1 0.0pt -4 0 0.4pt -b 5 -5 1 79.99982pt -5 1 0.0pt -5 0 0.4pt -b 6 -6 1 85.9998pt -6 1 0.0pt -6 0 0.4pt -b 7 -7 1 55.99988pt -7 1 0.0pt -7 0 0.4pt -b 8 -8 1 55.99988pt -8 1 0.0pt -8 0 4.90004pt -b 9 -* 1 0 -S -284.52756pt -0.0pt -0.0pt -8.0pt -5.99998pt -15.99998pt -16.99997pt -0 0 14.75002pt -0 1 47.99988pt -0 1 0.0pt -0 0 0.4pt -b 1 -1 1 55.99988pt -1 1 0.0pt -1 0 0.4pt -b 2 -2 1 67.99985pt -2 1 0.0pt -2 0 0.4pt -b 3 -3 1 55.99988pt -3 1 0.0pt -3 0 0.4pt -b 4 -4 1 55.99988pt -4 1 0.0pt -4 0 0.4pt -b 5 -5 1 79.99982pt -5 1 0.0pt -5 0 0.4pt -b 6 -6 1 85.9998pt -6 1 0.0pt -6 0 0.4pt -b 7 -7 1 55.99988pt -7 1 0.0pt -7 0 0.4pt -b 8 -8 1 55.99988pt -8 1 0.0pt -8 0 4.90004pt -b 9 -* -1 0 -S -452.96788pt -0.0pt -0.0pt -8.0pt -5.99998pt -15.99998pt -1.99997pt -0 0 13.00003pt -0 1 95.99976pt -0 1 0.0pt -0 0 0.4pt -b 1 -1 0 0.0pt -1 0 13.00003pt -1 1 67.99985pt -1 1 0.0pt -1 0 0.4pt -b 2 -2 0 0.0pt -2 0 22.99995pt -2 1 43.99991pt -2 1 0.0pt -2 0 0.4pt -b 3 -3 0 0.0pt -3 0 13.00003pt -3 1 43.99991pt -3 1 0.0pt -3 0 0.4pt -b 4 -4 0 0.0pt -4 0 50.95pt -4 1 151.99963pt -4 1 0.0pt -4 0 0.4pt -b 5 -* 0 0 -S -452.96788pt -0.0pt -2.0pt -7.0pt -5.99998pt -0.0pt -1.99997pt -0 1 42.99991pt -0 1 2.0pt -0 0 0.4pt -b 1 -* 0 0 -S -452.96788pt -0.0pt -0.0pt -8.0pt -5.99998pt -15.99998pt -11.99997pt -0 1 19.99997pt -h 5.99998pt -0 1 149.99962pt -0 1 0.0pt -0 0 0.4pt -b 1 -1 1 19.99997pt -h 5.99998pt -1 1 185.99953pt -1 1 0.0pt -1 0 0.4pt -b 2 -* 0 0 -S -452.96788pt -0.0pt -0.0pt -8.0pt -5.99998pt -15.99998pt -1.99997pt -0 1 119.9997pt -0 1 0.0pt -0 0 0.4pt -b 1 -1 1 187.99954pt -1 1 0.0pt -1 0 0.4pt -b 2 -2 1 247.99939pt -2 1 0.0pt -2 0 0.4pt -b 3 -* 0 0 -S -452.96788pt -0.0pt -0.0pt -8.0pt -5.99998pt -15.99998pt -1.99997pt -0 0 13.00003pt -0 1 103.99976pt -0 1 0.0pt -0 0 0.4pt -b 1 -1 1 103.99976pt -1 1 0.0pt -1 0 0.4pt -b 2 -2 1 151.99963pt -2 1 0.0pt -2 0 0.4pt -b 3 -3 1 67.99985pt -3 1 0.0pt -3 0 0.4pt -b 4 -4 1 67.99985pt -4 1 0.0pt -4 0 0.4pt -b 5 -* 0 0 -S -452.96788pt -0.0pt -0.0pt -8.0pt -5.99998pt -15.99998pt -1.99997pt -0 1 119.9997pt -0 1 0.0pt -0 0 0.4pt -b 1 -1 1 187.99954pt -1 1 0.0pt -1 0 0.4pt -b 2 -2 1 151.99963pt -2 1 0.0pt -2 0 0.4pt -b 3 -3 1 103.99976pt -3 1 0.0pt -3 0 0.4pt -b 4 -* 0 0 -S -475.73007pt --11.38109pt -0.0pt -8.0pt -5.99998pt -15.99998pt -16.99997pt -0 1 0.0pt -h 5.99998pt -0 1 5.99998pt -h 2.99998pt -0 1 38.9999pt -0 0 0.0pt -0 1 0.0pt -h 2.99998pt -0 1 32.99991pt -0 0 13.99994pt -0 1 23.99994pt -0 1 0.0pt -0 0 0.4pt -b 1 -1 1 34.99992pt -1 0 13.99994pt -1 1 0.0pt -h 2.99998pt -1 1 32.99991pt -1 0 13.99994pt -1 1 23.99994pt -1 1 0.0pt -1 0 0.4pt -b 2 -2 1 25.99995pt -2 0 13.99994pt -2 1 0.0pt -h 2.99998pt -2 1 32.99991pt -2 0 13.99994pt -2 1 23.99994pt -2 1 0.0pt -2 0 0.4pt -b 3 -3 1 118.9997pt -3 1 0.0pt -3 0 0.4pt -b 4 -* 0 0 -S -452.96788pt -0.0pt -0.0pt -8.0pt -5.99998pt -15.99998pt -1.99997pt -0 1 43.99991pt -0 1 0.0pt -0 0 0.4pt -b 1 -1 1 43.99991pt -1 1 0.0pt -1 0 0.4pt -b 2 -2 1 43.99991pt -2 1 0.0pt -2 0 7.90007pt -b 3 -3 1 43.99991pt -3 1 0.0pt -3 0 0.4pt -b 4 -4 1 43.99991pt -4 1 0.0pt -4 0 4.90004pt -b 5 -* 0 0 -S -452.96788pt -0.0pt -0.0pt -8.0pt -5.99998pt -15.99998pt -1.99997pt -0 1 43.99991pt -0 1 0.0pt -0 0 0.4pt -b 1 -1 1 43.99991pt -1 1 0.0pt -1 0 0.4pt -b 2 -2 1 43.99991pt -2 1 0.0pt -2 0 7.90007pt -b 3 -3 1 43.99991pt -3 1 0.0pt -3 0 2.79996pt -b 4 -4 1 43.99991pt -4 1 0.0pt -4 0 0.4pt -b 5 -5 1 43.99991pt -5 1 0.0pt -5 0 7.90007pt -b 6 -L 7.90007pt -6 1 43.99991pt -6 1 0.0pt -6 0 0.4pt -b 7 -7 1 43.99991pt -7 1 0.0pt -7 0 0.4pt -b 8 -8 1 43.99991pt -8 1 0.0pt -8 0 0.4pt -b 9 -9 1 43.99991pt -9 1 0.0pt -9 0 7.90007pt -b 10 -10 1 43.99991pt -10 1 0.0pt -10 0 0.4pt -b 11 -11 1 43.99991pt -11 1 0.0pt -11 0 4.90004pt -b 12 -* 0 0 -S -452.96788pt -0.0pt -0.0pt -8.0pt -5.99998pt -15.99998pt -1.99997pt -0 0 14.75002pt -0 1 97.99973pt -0 1 0.0pt -0 0 0.4pt -b 1 -1 1 97.99973pt -1 1 0.0pt -1 0 0.4pt -b 2 -2 1 70.99982pt -2 1 0.0pt -2 0 0.4pt -b 3 -3 1 79.99979pt -3 1 0.0pt -3 0 0.4pt -b 4 -* 0 0 -S -452.96788pt -0.0pt -0.0pt -8.0pt -5.99998pt -15.99998pt -1.99997pt -0 0 13.00003pt -0 1 199.99951pt -0 1 0.0pt -0 0 0.4pt -b 1 -1 1 199.99951pt -1 1 0.0pt -1 0 0.4pt -b 2 -* 0 0 -S -452.96788pt -17.0pt -0.0pt -8.0pt -5.99998pt -15.99998pt -6.99997pt -0 0 14.43335pt -0 1 0.0pt -h 25.09726pt -0 1 25.09726pt -0 1 11.99997pt -0 1 0.0pt -0 0 0.4pt -b 1 -1 1 49.9999pt -h 21.1667pt -1 1 21.1667pt -1 1 0.0pt -h 23.33339pt -1 1 23.33339pt -1 1 11.99997pt -1 1 0.0pt -1 0 0.4pt -b 2 -2 1 43.99991pt -h 21.9445pt -2 1 21.9445pt -2 1 0.0pt -h 16.75002pt -2 1 16.75002pt -2 1 11.99997pt -2 1 0.0pt -2 0 0.4pt -b 3 -3 1 37.99992pt -h 19.16672pt -3 1 19.16672pt -3 1 0.0pt -h 25.5556pt -3 1 25.5556pt -3 1 0.0pt -h 20.05557pt -3 1 20.05557pt -3 1 0.0pt -h 22.50005pt -3 1 22.50005pt -3 1 0.0pt -3 1 0.0pt -3 0 0.4pt -b 4 -4 1 67.99985pt -4 1 0.0pt -4 0 0.4pt -b 5 -5 1 8.0pt -h 25.33337pt -5 1 25.33337pt -5 1 47.99988pt -5 1 0.0pt -5 0 0.4pt -b 6 -6 1 8.0pt -h 23.38893pt -6 1 23.38893pt -6 1 59.99985pt -6 1 0.0pt -6 0 0.4pt -b 7 -7 1 67.99985pt -7 1 0.0pt -7 0 0.4pt -b 8 -8 1 43.99991pt -h 23.38893pt -8 1 23.38893pt -8 1 35.99991pt -8 1 0.0pt -8 0 0.4pt -b 9 -9 1 43.99991pt -h 19.38893pt -9 1 19.38893pt -9 1 35.99991pt -9 1 0.0pt -9 0 0.4pt -b 10 -10 1 43.99991pt -h 23.63895pt -10 1 23.63895pt -10 1 0.0pt -h 20.2778pt -10 1 20.2778pt -10 1 11.99997pt -h 21.6667pt -10 1 21.6667pt -10 1 11.99997pt -10 1 0.0pt -10 0 0.4pt -b 11 -11 1 73.99983pt -h 16.11113pt -11 1 16.11113pt -11 1 11.99997pt -11 1 0.0pt -11 0 0.4pt -b 12 -12 1 8.0pt -h 26.52782pt -12 1 26.52782pt -12 1 0.0pt -h 18.47224pt -12 1 18.47224pt -12 1 11.99997pt -h 23.33336pt -12 1 23.33336pt -12 1 0.0pt -h 23.75003pt -12 1 23.75003pt -12 1 11.99997pt -12 1 0.0pt -12 0 0.4pt -b 13 -13 1 8.0pt -h 17.91667pt -13 1 17.91667pt -13 1 11.99997pt -h 21.66672pt -13 1 21.66672pt -13 1 0.0pt -h 21.1667pt -13 1 21.1667pt -13 1 0.0pt -h 24.22226pt -13 1 24.22226pt -13 1 23.99994pt -13 1 0.0pt -13 0 0.4pt -b 14 -* 2 0 -S -452.96788pt -0.0pt -0.0pt -8.0pt -5.99998pt -15.99998pt -1.99997pt -0 0 14.75002pt -0 1 0.0pt -0 1 0.0pt -0 0 7.90007pt -b 1 -L 7.90007pt -1 1 151.99963pt -1 1 0.0pt -1 0 0.4pt -b 2 -2 1 151.99963pt -2 1 0.0pt -2 0 0.4pt -b 3 -3 1 151.99963pt -3 1 0.0pt -3 0 7.90007pt -b 4 -* 0 0 -S -452.96788pt -32.72066pt --2.0pt -8.0pt -5.99998pt -15.99998pt -11.99997pt -0 0 14.43335pt -0 1 71.99982pt -0 1 -2.0pt -0 0 0.4pt -b 1 -1 1 64.99985pt -1 1 -2.0pt -1 0 0.4pt -b 2 -2 1 8.0pt -h 2.99998pt -2 1 74.9998pt -2 1 -2.0pt -2 0 0.4pt -b 3 -3 1 64.99985pt -3 1 -2.0pt -3 0 0.4pt -b 4 -4 1 64.99985pt -4 1 -2.0pt -4 0 0.4pt -b 5 -5 1 103.99976pt -5 1 -2.0pt -5 0 0.4pt -b 6 -6 1 8.0pt -h 2.99998pt -6 1 77.99979pt -6 1 -2.0pt -6 0 0.4pt -b 7 -* 0 0 -S -369.88582pt -0.0pt -0.0pt -8.0pt -5.99998pt -23.03995pt -6.99997pt -0 0 14.43335pt -0 1 27.99994pt -0 1 0.0pt -0 0 0.4pt -b 0 -1 1 103.99976pt -1 1 0.0pt -1 0 0.4pt -b 1 -2 1 79.99982pt -2 1 0.0pt -2 0 0.4pt -b 2 -3 1 103.99976pt -3 1 0.0pt -3 0 0.4pt -b 3 -4 1 55.99988pt -z 4 -5 1 23.99994pt -5 1 0.0pt -5 0 0.4pt -b 4 -6 1 103.99976pt -6 1 0.0pt -6 0 0.4pt -b 5 -7 1 91.99979pt -7 1 0.0pt -7 0 0.4pt -b 6 -8 1 79.99982pt -8 1 0.0pt -8 0 0.4pt -b 7 -9 1 37.99992pt -9 1 0.0pt -9 0 2.79996pt -b 8 -* 0 0 -S -452.96788pt -0.0pt -0.0pt -8.0pt -5.99998pt -23.03995pt -11.99997pt -0 1 8.0pt -h 111.26422pt -0 1 111.26422pt -0 1 0.0pt -h 5.99998pt -0 1 5.99998pt -h 5.99998pt -0 1 35.99991pt -0 1 0.0pt -0 0 0.4pt -b 1 -1 1 8.0pt -h 83.31128pt -1 1 83.31128pt -1 1 0.0pt -h 5.99998pt -1 1 5.99998pt -h 5.99998pt -1 1 113.99971pt -1 1 0.0pt -1 0 0.4pt -b 2 -2 1 85.9998pt -2 1 0.0pt -2 0 0.4pt -b 3 -3 1 43.99991pt -3 1 0.0pt -3 0 0.4pt -b 4 -* 0 0 -S -452.96788pt -0.0pt -0.0pt -8.0pt -5.99998pt -23.03995pt -11.99997pt -0 1 8.0pt -h 111.26422pt -0 1 111.26422pt -0 1 0.0pt -h 5.99998pt -0 1 5.99998pt -h 5.99998pt -0 1 35.99991pt -0 1 0.0pt -0 0 0.4pt -b 1 -1 1 8.0pt -h 79.66129pt -1 1 79.66129pt -1 1 0.0pt -h 5.99998pt -1 1 5.99998pt -h 5.99998pt -1 1 113.99971pt -1 1 0.0pt -1 0 0.4pt -b 2 -2 1 85.9998pt -2 1 0.0pt -2 0 0.4pt -b 3 -3 1 43.99991pt -3 1 0.0pt -3 0 0.4pt -b 4 -* 0 0 -S -540.60236pt -0.0pt -0.0pt -2.0pt -5.99998pt -23.03995pt -1.99997pt -0 1 313.9992pt -0 1 0.0pt -0 0 0.4pt -b 1 -* 0 0 -1 1 313.9992pt -1 1 0.0pt -1 0 0.4pt -b 2 -* 0 0 -2 1 367.75897pt -2 1 0.0pt -2 0 0.4pt -b 3 -* 0 0 -3 1 308.89883pt -3 1 0.0pt -3 0 0.4pt -b 4 -* 0 0 -4 1 307.99922pt -4 1 0.0pt -4 0 0.4pt -b 5 -* 0 0 -5 1 241.99939pt -* 0 0 -6 1 277.9993pt -6 1 0.0pt -6 0 0.4pt -b 6 -* 0 0 -7 1 260.83992pt -7 1 0.0pt -7 0 0.4pt -b 7 -* 0 0 -8 1 25.99994pt -8 1 0.0pt -8 0 0.4pt -b 8 -9 1 25.99994pt -9 1 0.0pt -9 0 7.90007pt -b 9 -10 1 25.99994pt -10 1 0.0pt -10 0 2.79996pt -b 10 -11 1 13.99997pt -11 1 0.0pt -11 0 0.4pt -b 11 -12 1 185.35986pt -12 1 0.0pt -12 0 0.4pt -b 12 -* 0 0 -13 1 136.87971pt -13 1 0.0pt -13 0 7.90007pt -b 13 -L 7.90007pt -14 1 19.99995pt -14 1 0.0pt -14 0 13.50014pt -b 14 -l 13.50014pt 7.90007pt -15 1 19.99995pt -15 1 0.0pt -15 0 7.90007pt -b 15 -16 1 25.99994pt -16 1 0.0pt -16 0 0.4pt -b 16 -* 0 0 diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc.mx2 b/Master/texmf-dist/doc/generic/musixtex/musixdoc.mx2 deleted file mode 100644 index 256550de3c6..00000000000 --- a/Master/texmf-dist/doc/generic/musixtex/musixdoc.mx2 +++ /dev/null @@ -1,41 +0,0 @@ -\lineset{ 1}{ 4}{ 5.99998pt}{ 8.00000pt}{ 0.00000pt}% 1 - 4 -\lineset{ 2}{ 3}{ 5.99998pt}{ 8.00000pt}{ 0.00000pt}% 5 - 7 -\lineset{ 3}{ 2}{ 5.99998pt}{ 8.00000pt}{ 0.00000pt}% 8 - 9 -\lineset{ 4}{ 5}{ 4.96008pt}{ 6.61347pt}{ 0.00000pt}% 1 - 5 -\lineset{ 5}{ 4}{ 5.29699pt}{ 7.06268pt}{ 0.00000pt}% 6 - 9 -\lineset{ 6}{ 3}{ 8.21781pt}{10.95712pt}{ 0.00000pt}% 1 - 3 -\lineset{ 7}{ 3}{ 7.82273pt}{10.43034pt}{ 0.00000pt}% 4 - 6 -\lineset{ 8}{ 3}{ 7.44931pt}{ 9.93245pt}{ 0.00000pt}% 7 - 9 -\lineset{ 9}{ 9}{ 2.44139pt}{ 3.25520pt}{ 0.00000pt}% 1 - 9 -\lineset{ 10}{ 5}{ 4.75274pt}{ 6.33700pt}{ 0.00000pt}% 1 - 5 -\lineset{ 11}{ 1}{60.07564pt}{70.08848pt}{20.02528pt}% 1 - 1 -\lineset{ 12}{ 2}{ 6.79397pt}{ 9.05866pt}{ 0.00000pt}% 1 - 2 -\lineset{ 13}{ 3}{ 4.68094pt}{ 6.24128pt}{ 0.00000pt}% 1 - 3 -\lineset{ 14}{ 5}{ 5.08025pt}{ 6.77369pt}{ 0.00000pt}% 1 - 5 -\lineset{ 15}{ 4}{ 4.61029pt}{ 6.14708pt}{ 0.00000pt}% 1 - 4 -\lineset{ 16}{ 4}{ 5.78589pt}{ 7.71455pt}{ 0.00000pt}% 1 - 4 -\lineset{ 17}{ 5}{11.48093pt}{15.30795pt}{ 0.00000pt}% 1 - 5 -\lineset{ 18}{12}{ 4.55417pt}{ 6.07225pt}{ 0.00000pt}% 1 - 12 -\lineset{ 19}{ 4}{ 7.23835pt}{ 9.65116pt}{ 0.00000pt}% 1 - 4 -\lineset{ 20}{ 2}{ 6.31751pt}{ 8.42338pt}{ 0.00000pt}% 1 - 2 -\lineset{ 21}{ 3}{13.34042pt}{17.78728pt}{ 0.00000pt}% 1 - 3 -\lineset{ 22}{ 3}{11.70949pt}{15.61271pt}{ 0.00000pt}% 4 - 6 -\lineset{ 23}{ 3}{10.61082pt}{14.14781pt}{ 0.00000pt}% 7 - 9 -\lineset{ 24}{ 2}{13.95386pt}{18.60521pt}{ 0.00000pt}% 10 - 11 -\lineset{ 25}{ 3}{ 8.72595pt}{11.63464pt}{ 0.00000pt}% 12 - 14 -\lineset{ 26}{ 4}{ 5.31076pt}{ 7.08103pt}{ 0.00000pt}% 1 - 4 -\lineset{ 27}{ 7}{ 4.25785pt}{ 5.67715pt}{-1.41929pt}% 1 - 7 -\lineset{ 28}{ 5}{ 5.22278pt}{ 6.96373pt}{ 0.00000pt}% 0 - 4 -\lineset{ 29}{ 5}{ 5.81698pt}{ 7.75599pt}{ 0.00000pt}% 4 - 8 -\lineset{ 30}{ 4}{ 4.17787pt}{ 5.57051pt}{ 0.00000pt}% 1 - 4 -\lineset{ 31}{ 4}{ 4.25498pt}{ 5.67332pt}{ 0.00000pt}% 1 - 4 -\lineset{ 32}{ 1}{ 9.84386pt}{ 3.28130pt}{ 0.00000pt}% 1 - 1 -\lineset{ 33}{ 1}{ 9.84386pt}{ 3.28130pt}{ 0.00000pt}% 2 - 2 -\lineset{ 34}{ 1}{ 8.40486pt}{ 2.80163pt}{ 0.00000pt}% 3 - 3 -\lineset{ 35}{ 1}{10.00640pt}{ 3.33548pt}{ 0.00000pt}% 4 - 4 -\lineset{ 36}{ 1}{10.03562pt}{ 3.34522pt}{ 0.00000pt}% 5 - 5 -\lineset{ 37}{ 1}{12.78253pt}{ 4.26086pt}{ 0.00000pt}% 0 - 0 -\lineset{ 38}{ 1}{11.11860pt}{ 3.70621pt}{ 0.00000pt}% 6 - 6 -\lineset{ 39}{ 1}{11.85004pt}{ 3.95003pt}{ 0.00000pt}% 7 - 7 -\lineset{ 40}{ 5}{10.89547pt}{ 3.63184pt}{ 0.00000pt}% 8 - 12 -\lineset{ 41}{ 4}{14.36894pt}{ 4.78966pt}{ 0.00000pt}% 13 - 16 diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc.sty b/Master/texmf-dist/doc/generic/musixtex/musixdoc.sty index 269cd551814..22586249cd3 100644 --- a/Master/texmf-dist/doc/generic/musixtex/musixdoc.sty +++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc.sty @@ -17,9 +17,16 @@ % Boston, MA 02111-1307, USA. % % american people perhaps may want to change the paper size +% +% LaTeX2e compliant (6 Oct 2009) -\textheight= 50\baselineskip -\textwidth= 210mm \advance\textwidth-2in % +%\textheight= 50\baselineskip +\textheight= 297mm \advance\textheight-2in % +\textwidth= 210mm \advance\textwidth-1.8in % +% +% Allow dvips -tletter and it still fits. +%\voffset-5mm\hoffset-.1in +\voffset1mm\hoffset-.1in \input musixtex \input musixbm @@ -31,7 +38,7 @@ \input musixlit \input musixltx \input musixper -\input musixmad +%\input musixmad% removed because inessential (6 June 2008) % we don't need margin \oddsidemargin\z@ \evensidemargin\z@ @@ -60,23 +67,24 @@ % more place for digits in \tableofcontents \def\l@subsection{\@dottedtocline{2}{3.8em}{3.4em}}%original 2 3.8 3.2 -\def\tty{\csname normalshape\endcsname\csname mediumseries\endcsname\tt} +\def\tty{\csname normalshape\endcsname\csname mediumseries\endcsname\ttfamily} \def\mutex{M\raise\tw@\p@\hbox{\kern\m@ne\p@ u\kern\m@ne\p@}\TeX} -\def\Bslash{\tt\char'134} -\def\|{{\tt\char'174}} -\def\LBR{{\tt\char'173}} -\def\RBR{{\tt\char'175}} +\def\Bslash{\ttfamily \char'134} +\def\|{\texttt{\char'174}} +\def\LBR{\texttt{\char'173}} +\def\RBR{\texttt{\char'175}} \def\keyindex#1{\leavevmode \hbox{\Bslash #1}\index{#1@{\protect\Bslash #1}}} \def\zkeyindex#1{\index{#1@{\protect\Bslash #1}}} \def\ixem#1{#1\index{#1}} -\def\itxem#1{\ital{#1}\index{#1}} -\def\ttxem#1{{\tt #1}\index{#1@{\tt #1}}} -\def\ital#1{{\sl #1\/}} +\def\itxem#1{\textsl{#1}\index{#1}} +\def\ttxem#1{\texttt{#1}\index{#1@\texttt{#1}}} +\def\ixtt#1{\index{#1@\texttt{#1}}} +\def\ital#1{\textsl{#1\/}} \newfont{\mflogo}{logo10 scaled 1200} \def\MF{{\mflogo METAFONT}} -\def\unix{{\sc unix}} +\def\unix{\textsc{unix}} \iflongDCfontnames \font\tentt=\fontid tt1000 @@ -94,14 +102,14 @@ \def\_{\protect\underscoreSymbol} -\def\remark{\par\noindent\sl REMARK:} +\def\remark{\par\noindent\slshape REMARK:} \def\endremark{\leavevmode\/} -\def\important{\par\noindent\sl IMPORTANT:} +\def\important{\par\noindent\slshape IMPORTANT:} \def\endimportant{\leavevmode\/} -\def\caution{\par\noindent\sl CAUTION:} +\def\caution{\par\noindent\slshape CAUTION:} \def\endcaution{\leavevmode\/} - +\def\st@ffs{1} \endinput diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc.tex index 68d837a6ae5..17cafecb4c9 100644 --- a/Master/texmf-dist/doc/generic/musixtex/musixdoc.tex +++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc.tex @@ -1,4 +1,8 @@ % +% mxdoc111d.tex (formerly file 110d, internally called 109d1) +% Different from version posted in that it has the extra paragraph +% "You may wonder ..." in section 1.3 +% % This file is part of MusiXTeX % % MusiXTeX is free software; you can redistribute it and/or modify @@ -16,18 +20,49 @@ % the Free Software Foundation, Inc., 59 Temple Place - Suite 330, % Boston, MA 02111-1307, USA. % +% This version 109d1 postdates the one posted to the site. +% \ifx\documentclass\undefined \documentstyle[twoside,11pt,musixdoc,multicol,backgrnd]{report} \else - \documentclass[twoside,11pt]{report} + \documentclass[twoside,11pt,a4paper]{report} \usepackage{multicol} \usepackage{musixdoc} - \usepackage{backgrnd} -% \usepackage{amsmath} -% \usepackage[emtex]{changebar} + \usepackage{etex} + \usepackage[dvips,bookmarks=true,bookmarksnumbered=true,bookmarksopen=true,colorlinks=true,pdfborder={0 0 0}]{hyperref} + \usepackage{url} + \usepackage{indentfirst} + \usepackage[ansinew]{inputenc} +\makeatletter +\def\notesintext#1{% no staff lines, no clefs + {\let\extractline\relax + \setlines10\smallmusicsize \nobarnumbers \nostartrule + \staffbotmarg0pt \setclefsymbol1\empty \global\clef@skip0pt + \startextract\addspace{-\afterruleskip}#1\zendextract}} +\makeatother +\def\musicintext#1#2{% normal + {\let\extractline\relax + \smallmusicsize \nobarnumbers + \staffbotmarg0pt \setclef1{#1} + \startextract\addspace{-\afterruleskip}#2\endextract}} +% macro adapted to insert music without clef: +\def\musicintextnoclef#1{% no clef small + {\let\extractline\relax + \smallmusicsize \nobarnumbers + \staffbotmarg0pt \setclefsymbol1\empty + \startextract\addspace{-\afterruleskip}#1\endextract}} +\def\musicintextnoclefn#1{% no clef normal + {\let\extractline\relax + \nobarnumbers + \staffbotmarg0pt \setclefsymbol1\empty + \startextract\addspace{-\afterruleskip}#1\endextract}} \fi \def\musictex{Music\TeX{}} +\def\onen{{\tt\char123}$n${\tt\char125}} +\def\pitchp{{\tt\char123}$p${\tt\char125}} +\def\itbrace#1{{\tt\char123}$#1${\tt\char125}} +\def\nochange{(\ital{NOT to be changed})} \ifx\setendvolta\undefined\def\setendvolta{\endvolta}\fi \ifx\setendvoltabox\undefined\def\setendvoltabox{\endvoltabox}\fi @@ -39,29 +74,32 @@ %\changebarsep 10 pt \title{\Huge\bf\musixtex\raise1.5ex\hbox{\large\copyright}\\[\bigskipamount] \LARGE\bf Using \TeX{} to write polyphonic\\or -instrumental music\\\Large\sl Version T.104~-- \today} +instrumental music\\\Large\sl Version T.114~-- June, 2006} \author{\Large\rm Daniel \sc Taupin\\\large\sl Laboratoire de Physique des Solides\\\normalsize\sl (associ\'e au CNRS)\\\normalsize\sl - b\^atiment 510, Centre Universitaire, F-91405 ORSAY Cedex\\ E-mail : {\tt -taupin@lps.u-psud.fr}\\\medskip +% b\^atiment 510, Centre Universitaire, F-91405 ORSAY Cedex\\ E-mail : {\tt +%taupin@lps.u-psud.fr}\\\medskip + b\^atiment 510, Centre Universitaire, F-91405 ORSAY Cedex\\\medskip \\\Large\rm Ross \sc Mitchell\\\large\sl CSIRO Division of Atmospheric Research,\\\normalsize\sl Private Bag No.1, Mordialloc, Victoria 3195,\\ Australia \\\medskip - \\\Large\rm Andreas \sc Egler\ddag\\\large\sl +% \\\Large\rm Andreas \sc Egler\ddag\\\large\sl + \\\Large\rm Andreas \sc Egler\\\large\sl (Ruhr--Uni--Bochum)\\ Ursulastr. 32\\ D-44793 Bochum} \date{} -%\show\maketitle -\let\endtitleORI\endtitlepage - \def\endtitlepage{\vfill\noindent $^\ddag$ {\it For personal reasons, Andreas -Egler decided to retire from authorship of this work. Nevertherless, he has -done an important work about that, and I decided to keep his name on this -first page. {\sc D. Taupin}}\endtitleORI} +%\let\endtitleORI\endtitlepage +% \def\endtitlepage{\vfill\noindent $^\ddag$ {\it For personal reasons, Andreas +%Egler decided to retire from authorship of this work. Nevertherless, he has +%done an important work about that, and I decided to keep his name on this +%first page. {\sc D. Taupin}}\endtitleORI} \maketitle \clearpage %\check -\thispagestyle{empty} +\pagenumbering{roman}\setcounter{page}{2} + +%\thispagestyle{empty} \null \vfill @@ -81,15 +119,14 @@ on your machine and mastering it\\ is an awesome job which gobbles up\\ a lot of your time and disk space.\\[\medskipamount] But, once you master it...\\[\smallskipamount] -{\sc Hans Kuykens} +Hans {\sc Kuykens} \end{flushright} \begin{center} - Although one of the authors contested that point once the common work had -begun, \musixtex{} may be freely copied, duplicated and used in conformance to +\musixtex{} may be freely copied, duplicated and used in conformance to the GNU General Public License (Version 2, 1991, see included file {\tt copying})\footnote{Thanks to Free Software Foundation for advising us. See -{\tt http://www.gnu.org}}. +\href{http://www.gnu.org}{\underline{\tt http://www.gnu.org}}}. You may take it or parts of it to include in other packages, but no packages called \musixtex{} without specific suffix may be distributed under the name @@ -97,104 +134,176 @@ called \musixtex{} without specific suffix may be distributed under the name corrections). Adaptations for specific implementations (e.g. fonts) should be provided as -separate additional TeX or LaTeX files which override original definition. - +separate additional \TeX\ or \LaTeX\ files which override original definitions. \end{center} \clearpage -\setcounter{page}1 -\tableofcontents -\setcounter{secnumdepth}3 -\pagestyle{headings} - -\chapter{What is \musixtex{} ?} - -\hrule\smallskip -\section*{Preface} - -\noindent Dear user, - -This is still an imperfect version, which means that some features will be -added or corrected. However our intent is to avoid removing existing commands, -in order to spare your own adaptation problems or your typing time correcting -scores you already have in your archive. - +\chapter*{Preface to Version T.113} +%\thispagestyle{empty} + +The main author of \musixtex{}, Daniel Taupin, died all too early in a 2003 +climbing accident. The \musixtex\ community was shocked by this tragic and unexpected +event. You may read some tributes to Daniel Taupin which are archived at the +\href{http://icking-music-archive.org}{\underline{Werner Icking Music Archive}}. + +Now, almost two years after his death, we would like to help keep his excellent +work alive and current by assembling a new release. This new version corrects various +minor bugs without adding any new functionality. At the same time it incorporates directly +into the distribution some additional packages: +\begin{itemize}\setlength{\itemsep}{0ex} +\item Type 1 (postscript) versions of all the \musixtex{} fonts, created by +Takanori Uchiyama; +\item Postscript Slur Package K (Ver 0.92, 12~May~02) by Stanislav Kneifl; +\item musixlyr (Ver 2.1c, 12 June 03) a \musixtex{} extension package for lyrics +handling, by Rainer Dunker. +\end{itemize} +We would like to thank the authors of these packages for generously agreeing to allow their +contributions to be included in the main \musixtex{} package. + +We have left the remainder of this manual largely as Daniel Taupin left it, +except we have updated various references and provided dynamic links to +archived versions where possible. + +This documentation is rather technical and is probably not the best way to +begin typesetting music. If you are a beginner, you should visit the +software section of the +\href{http://icking-music-archive.org/software/indexmt6.html} +{\underline{Werner Icking Music Archive}}. +In particular, we recommend +\href{http://icking-music-archive.org/software/pmx/pmxccn.pdf} +{\underline{Cornelius Noack's tutorial}}. It contains helpful information for +getting started with \musixtex, as well as a tutorial for \textbf{PMX}, a +preprocessor for \musixtex\ with a much simpler input language, and a brief +introduction to \textbf{M-Tx}, a preprocessor for \textbf{PMX}~which eases +the inclusion of lyrics. + +\bigskip + +\begin{flushright} +In the name of the community, Olivier Vogel +(\href{mailto:oliviervogel@freesurf.ch}{\url{oliviervogel@freesurf.ch}}), +July 30, 2005 +\end{flushright} -Sections marked with a star, or paragraphs marked ``???'' or ``.!.'', indicate -either that text is partly missing, or that something might change at a -next release. +%\clearpage + +\chapter*{Preface to Version T.114} +%\thispagestyle{empty} + +In order to expedite the release of version T.113 of \musixtex, only the most +essential modifications were made to the manual. With version T.114 the manual +has been extensively edited from cover to cover. Some material has been +rearranged, and references to \musictex, the immediate predecessor to +\musixtex, have been removed. The software itself remains +very stable. Only the slightest changes have been made since version T.113. + +It remains true that this is the definitive reference to all features of +\musixtex, but also that it is not the best place for a novice user to start. +The \href{http://icking-music-archive.org/software/indexmt6.html} +{\underline{Werner Icking Music Archive}}\ contains excellent and detailed +instructions for installing \musixtex{} and the strongly recommended +preprocessors \textbf{PMX} +(for instrumental music) and \textbf{M-Tx} (for vocal) under +\href{http://icking-music-archive.org/software/musixtex/musixtex-for-unix.html} +{\underline{Linux/\unix}} or +\href{http://icking-music-archive.org/software/musixtex/musixwinstall.pdf} +{\underline{Windows 2000}}. Once the software is installed, most common +music typesetting tasks can be accomplished entirely by using one of these +preprocessors to generate the \musixtex\ input file, relieving the user of +learning any of the commands or syntax of \musixtex\ itself. It is only +for out-of-the-ordinary constructions that one must learn these details, so he +may insert the necessary \musixtex\ commands into the preprocessor's input file +as so called inline \TeX. +\href{http://icking-music-archive.org/software/pmx/pmxccn.pdf} +{\underline{Cornelius Noack's tutorial}} is an important resource which, +in addition to gently introducing the +novice to \textbf{PMX} and \textbf{M-Tx}, gives further details on installing +Postscript slur facilities. + +\begin{flushright} +Don Simons, Andre van Ryckeghem, Cornelius Noack, August 30, 2005 +\end{flushright} - \smallskip - \noindent{\bf Remarque, Bemerkung, Cuidado, etc.:} If you have problems -understanding technical musical terms in english, please look at: +\clearpage -\begin{center} ftp://ftp.gmd.de/music/lists/glossary/glossary.ps \end{center} -which gives the translation of most terms into French, German, Dutch, Danish -and Swedish. This file {\tt glossary.eps.gz} is also included in the -distribution. -\index{glossary}\index{glossaire}\index{lexique}\index{traduction}\index{dictionnaire} +%\pagenumbering{roman} +\renewcommand{\baselinestretch}{.8}\footnotesize\normalsize +\tableofcontents \setcounter{secnumdepth}3 +\renewcommand{\baselinestretch}{1}\footnotesize\normalsize - \smallskip\hrule\medskip +%avrb page 4 was on top +\clearpage +%avre - \musixtex\ is a set of \TeX\ macros to typeset polyphonic, orchestral or -polyphonic music. Therefore, it is mainly supposed to be used to type wide -scores -- just because true musicians seldom like to have to frequently turn -pages -- and this is not really compatible with \LaTeX's standard page -formats. Even with \verb|A4.sty|, the \verb|\textheight| and \verb|\textwidth| -are too small for musician needs. +\setcounter{page}{1} +\pagenumbering{arabic} +\renewcommand{\thepage}{\arabic{page}} +\pagestyle{headings} -However, a \LaTeX\ style has also been provided (and it is used for the -typing of the present paper) but this \verb|musixtex| style is fit for -musicographic books rather than for normal scores to be actually played. - It should be emphasized that \musixtex\ is not intended to be a -compiler which would translate some \ixem{standard musical -notation}s into \TeX\, nor to decide by itself about aesthetic problems in music typing. -\musixtex\ only typesets staves, notes, chords, beams, slurs and ornaments as -requested by the composer. Since it makes very few typesetting decisions, -\musixtex\ appears to be a versatile and rather powerful tool. However, due -to the important amount of information to be provided to the typesetting -process, coding \musixtex\ might appear to be as awfully complicated as -the real keyboard or orchestral music. It should therefore be interfaced by -some pre-compiler in the case of the composer/typesetter wanting aesthetic -decisions to be automatically made by somebody (or something) else. -% -%\footnote{A short description to all known compilers for \musixtex\ can be -%found on page \pageref{compiler}f.}. -\section{\musixtex\ principal features} - %\check - \subsection{Music typesetting is two-dimensional} Most people who have just -learned a bit of music at college, probably think that music is a linear -sequence of symbols, similar to literary texts to be \TeX-ed. On the contrary, -with the exception of strictly monodic instruments like most orchestral wind -instruments and solo voices, one should be aware that -reading music is actually a matricial operation: the non-soloist musician -successively reads \ital{columns} of simultaneous notes which he -plays if he is a pianist, clavichordist or organist, which he reads -and watches if he -conducts an orchestra, and which he is supposed to check and partially play -when he is a soloist who wants to play in time with the accompanying -instrument or choir. - - In fact, our personal experience of playing piano and organ as well as -sometimes helping as an alternate Kapellmeister leads us to think that music -reading and composing is actually a slightly more complicated intellectual -process: music reading, music composing and music thinking seem to be a three -layer process. The musician usually reads or thinks several consecutive notes -(typically a long \ital{beat} or a group of logically connected notes), then -he goes down to the next instrument or voice and finally assembles the whole -to build a sequence of music lasting roughly a few seconds. He then proceeds -to the next \ital{beat} or \ital{bar} of his score. - - Thus, it appears that the humanly logical way of coding music consists +\chapter{Introduction to \musixtex} + +This chapter is not a tutorial on the use of \musixtex, but instead serves as +an overview of some of its capabilities, quirks, and history. + +\musixtex\ is a set of \TeX\ macros which enables the typesetting of music with +systems of up to twelve staves. It requires as a prerequisite a working +installation of \TeX\footnote{See section \ref{installation}~for guidance on +installing \TeX.}. +\musixtex\ might be regarded as the digital equivalent of a box of type. It +contains symbols for staves, notes, chords, beams, slurs and ornaments, +ready to be arranged to form a sheet of music. But it must be told how to position +those symbols on the page. This could be done by the typesetter +himself, if he elects to proceed by entering \musixtex\ commands manually +into an input file. However most users will find it far less taxing to let +such decisions be made largely by the preprocessor +\href{http://icking-music-archive.org/software/indexmt6.html#pmx} +{\underline{\textbf{PMX}}}, which in addition uses a much simpler input +language than \musixtex. + +Lyrics can also be handled by \musixtex. There is a set of primitive +commands for this which are described later. But there is also a far +more adaptable set of macros contained in the extension file +\verb|musixlyr.tex|, and there is the preprocessor +\href{http://icking-music-archive.org/software/indexmt6.html#mtx} +{\underline{\textbf{M-Tx}}}\ which provides easy, transparent access to +these macros. + +Most users of \TeX\ are familiar with \LaTeX, a set of \TeX\ macros +which eases document layout. In fact many may only use \LaTeX. +Until recently, \LaTeX\ and \musixtex\ coexisted only grudgingly, owing +primarily to the limited availabily of storage registers. But with modern +versions of \TeX\ and with the use of e\LaTeX, only a modest increase in +complexity is incurred with the addition of musical excerpts to a \LaTeX\ +document. Still, fortunately, for typesetting a musical score there is +rarely if ever any advantage to using \LaTeX. Only if one wanted to create a +text document with embedded musical examples would there be much use for it. +Even in that case there is a perfectly fine way to avoid using \musixtex\ +directly in the document file, namely, by using \musixtex\ to create +\verb|eps| files for +each of the examples, then embedding references to those in the file for +the book. But for anyone who still wants to use both together, there is +no better example than this manual, as generated with the files +\verb|musixdoc.tex| and \verb|musixdoc.sty|. A few further details about such +nonstandard applications are given in section \ref{excerpts}. + +\section{Primary features of \musixtex} + \subsection{Music typesetting is two-dimensional} Written music is not +usually a linear sequence of symbols like a literary text. Rather, +except for unaccompanied single-note instruments like clarinets, +trumpets and human voices, it has the form of a two-dimensional matrix. + Thus, a logical way of coding music consists in horizontally accumulating a set of \ital{vertical combs} with -\ital{horizontal teeth} as described in Table \ref{readtable}. +\ital{horizontal teeth} as depicted in Table~\ref{readtable}. \def\hboxit#1{\boxit{\rlap{#1}\hphantom{note sequence three}}} \begin{table} \begin{center} +%avrb + \small + %avre \begin{tabular}{|ll|ll|}\hboxit{note sequence one} &\hboxit{note seq.\ four} &\hboxit{note seq.\ seven} @@ -207,116 +316,114 @@ in horizontally accumulating a set of \ital{vertical combs} with &\hboxit{note seq.\ twelve}\\ \end{tabular} \end{center} - \caption{The order in which a musician reads music}\label{readtable} + \caption{A logical way of coding music}\label{readtable} \end{table} -This is the reason -why, in \musixtex\ the fundamental \ital{macro} is of the form +Accordingly, in \musixtex\ the fundamental macro used to represent +one of those vertical combs (or one of the columns in Table~\ref{readtable}) +is of the form \begin{center} -\verb|\notes ... & ... & ... \enotes|\footnote{Also -available for \keyindex{enotes} is the abbreviation \keyindex{en}.} +\verb|\notes ... & ... & ... \enotes|\footnote{The abbreviation +\keyindex{en} can be used in place of \keyindex{enotes}.} \end{center}\index{\&} \noindent where the character \verb|&| is used to separate the notes to be -typeset on respective staffs of the various instruments, starting from the +typeset on respective staves of the various instruments, starting from the bottom. In the case of an instrument whose score has to be written with -several staffs, these staffs are separated by the +several staves, they are separated by the character \|. \index{"|@{\tt\char'174}} Thus, a score written for a keyboard instrument and -a monodic instrument (for example piano and violin) +a single-line instrument (e.g., piano and violin) will be coded as follows: \begin{center} \verb=\notes ... | ... & ...\enotes= \end{center} \noindent for each column of simultaneous \ital{groups of notes}. -It is worth emphasizing that we actually said \ital{``groups of notes''}: -this means that in each section of the previous macro, the music typesetter is -welcome to insert, not only chord notes to be played at once, but small -sequences of consecutive notes which build something he understands as a -musical phrase. This is why note typing macros are of two kinds in \musixtex, -namely the note macros which are not followed by spacing afterwards, and those -which induce horizontal spacing afterwards. - \subsection{The spacing of the notes} It seems that many books have dealt -with this problem. Although it can lead to interesting algorithms, we think it -is not an important point in practice. - -In fact, each column of notes has not necessarily the same spacing -and, in principle, this \itxem{spacing} should depend on the shortest -duration of the simultaneous notes. But this cannot be established as a rule, -for at least two reasons: -\begin{enumerate} - \item spacing does not depend only on the local notes, -but also on the context, at least in the same bar. - \item in the case of polyphonic music, exceptions can easily be found. -Here is an example: - -\begin{music} -\generalmeter{\meterfrac44} -\startextract\NOtes\zhu j\ql h\hl g\hu k\ql f\enotes\endextract -\end{music} -\noindent where it can be clearly seen that the half notes at beats 2 and 3 -must be spaced as if they were quarter notes since they overlap, which is -obvious only because of the presence of the indication of the -\itxem{meter} 4/4. -\end{enumerate} -So the typesetter has to take care of good readable spacings on his own. -Therefore, we preferred to provide the composer/typesetter with a -set of macros which can be found in \ref{newspacings}. - \subsection{Music tokens, rather than a ready-made generator} -The tokens provided by \musixtex\ are: -\begin{itemize} - \item the note symbols \ital{without stem}; - \item the note symbols \ital{with stems, and hooks for eighth notes and -shorter}; - \item the indication of beam beginnings and beam ends; - \item the indication of beginnings and ends of ties and slurs; - \item the indication of accidentals; - \item the ornaments: arpeggios, trills, mordents, pinc\'es, turns, staccatos -and pizzicatos, fermatas, etc.; - \item the bars, the meter and signature changes, etc. +Each of those groups, represented by a single box in Table~\ref{readtable}\ +and by a sequence of three dots in the the two example macros above, may contain +not only chord notes to be played simultaneously, but short sequences of +consecutive +notes or chords. As we'll soon see, this implies the need for two fundamentally different +kinds of elemental macros in \musixtex, those that are automatically followed +by some amount of space (called \ital{spacing macros}, and those that are not. +The former type, for example, +would be used to represent all the notes and rests in a single-line score. +The latter would be used for example for chord notes and ornaments. + +\subsection{Horizontal spacing} +Deciding upon the proper horizontal spacing of notes is a very complicated matter +that we will not address in any detail here. Obviously short-duration notes +should be closer together than longer ones. Almost as obviously, the spacing +cannot be linearly proportional to the duration; otherwise for example a whole +note would occupy 32 times as much horizontal space as a thirty-second note. And +in polyphonic scores the spacing in one staff is often influenced by the notes +in another. This is a decision that the typesetter or preprocessor +must make. Once the decision is made, \musixtex\ can provide the desired spacing. +The main mechanism is through a set of macros described in +section~\ref{newspacings}. At this point we shall only mention that to control +spacing, one of those +macros will be selected to replace the symbol \verb|\notes| in the two examples +above, and it will imply that whenever a spacing macro in encountered within +a group of notes, a +certain specific amount of horizontal space will be inserted. + + \subsection{Music tokens} +The tokens provided by \musixtex\ include +\begin{itemize}\setlength{\itemsep}{0ex} + \item note symbols without stems; + \item note symbols with stems, and flags for eighth notes and +shorter; + \item beam beginnings and endings; + \item beginnings and endings of ties and slurs; + \item accidentals; + \item ornaments: arpeggios, trills, mordents, turns, staccatos, +pizzicatos, fermatas, etc.; + \item bar lines; + \item meters, key signatures, clefs. \end{itemize} - Thus, \verb|\wh a| produces an \ital{A (of nominal frequency 222.5~Hz, -unless transposed)} of duration being a -\ital{whole note}. In the same way, \verb|\wh h| produces an \ital{A -(445~Hz)} of duration represented by a \ital{whole note}, \verb|\qu c| -produces a \ital{C (250~Hz approx.)} whose value is a \ital{quarter note with -stem up}, \verb|\cl J| produces a \ital{C (125~Hz approx.)} of -duration equal to an \ital{eighth note with stem down}, etc. - - To generate quarter, eighth, sixteenth, etc. chords, the macro \keyindex{zq} -can be used: it produces a quarter note head, the vertical position of which -is memorized and recalled when another stemmed note (possibly with a hook) is -coded; then the stem is adjusted to link all simultaneous notes. Thus, the -perfect C-major chord, i.e. -\begin{music} -\startextract\NOtes\zq{ceg}\qu j\en\endextract +\smallskip + + Thus for example, \verb|\wh a| produces a whole note at nominal frequency 222.5~Hz, +\verb|\wh h| produces one an octave higher, \verb|\qu c| +produces an up-stemmed quarter note C (250~Hz), and \verb|\cl J| produces a down-stemmed C +eighth note an octave lower. + + To generate chords with solid note heads, the macro \keyindex{zq} +can be used. It produces a solid note head at the specified pitch, +the vertical position of which +is memorized and recalled whenever the next stemmed note (possibly with a flag) is +coded. The stem length is automatically adjusted to link all simultaneous notes. Thus, the +C-major chord + +\begin{music}\nostartrule +\startextract\NOtes\zq{ceg}\qu j\en\zendextract \end{music} - \noindent is coded \verb|\zq c\zq e\zq g\qu j| or, in a more concise way, -\verb|\zq{ceg}\qu j| (stem up): in fact, single notes are treated\dots\ like -one-note chords. - %\check + \noindent is coded \verb|\zq c\zq e\zq g\qu j| or more concisely, +\verb|\zq{ceg}\qu j|. Here the \verb|u| in the spacing note macro +\verb|\qu| is what causes the upstem. \subsection{Beams} -\ital{Beams}\index{beams} are generated using macros which define their -beginning (at the current horizontal position), together with their altitude, -their direction (upper or lower), their multiplicity, their slope and their -reference number. This latter feature -- the reference number -- appears to -be necessary, since one may want to write beams whose horizontal extents -overlap: therefore, it is necessary to specify which beam the notes belong to -and which beam is terminated at a given position. +Each beam \index{beams} is generated by a pair of macros. The first defines +the beginning horizontal position (implicitly the current position), altitude, +direction (upper or lower), multiplicity (number of lateral bars), slope and +reference number. This latter feature is needed so independent beams +can overlap. The second macro of the pair specifies the termination +location (again implicitly) and the reference number. + \subsection{Setting anything on the score} A general macro (\keyindex{zcharnote}) provides a means of -putting any sequence of symbols (in fact, some \verb|\hbox{...}|) at any -pitch of any staff of any instrument. Thus, any symbol defined in a font -(letters, math symbols, etc.) can be used to typeset music. +putting any sequence of symbols (possibly contained in an \verb|\hbox{...}|) at any +pitch of any staff of any instrument. This allows any symbol defined in a font +(letters, math symbols, etc.) to be placed in the score at a position keyed +to the music both in time (horizontally) and pitch (vertically) on the staff, \section{A simple example} - Before giving more details, we give below an example of the two first + Before going into more detail, we give below an example of the two first bars of the sonata in C-major KV545 by {\sc Mozart}\index{Mozart, W.A.@{\sc Mozart, W.A.}}: \begin{music} -\parindent10mm +\parindent11mm \setname1{Piano} \setstaffs12 \generalmeter{\meterfrac44} @@ -327,11 +434,11 @@ Mozart, W.A.}}: \Notes\ibu0f0\qb0{dgf}|\qlp i\en \notes\tbu0\qb0g|\ibbl1j3\qb1j\tbl1\qb1k\en \Notes\ibu0f0\qb0{cge}\tbu0\qb0g|\hl j\en -\endextract +\zendextract \end{music} - The \ital{coding} is set as follows: + The coding is as follows: \begin{quote}\begin{verbatim} -\begin{music} +\begin{music}\nostartrule \parindent10mm \instrumentnumber{1} % a single instrument \setname1{Piano} % whose name is Piano @@ -344,63 +451,88 @@ Mozart, W.A.}}: \Notes\ibu0f0\qb0{dgf}|\qlp i\en \notes\tbu0\qb0g|\ibbl1j3\qb1j\tbl1\qb1k\en \Notes\ibu0f0\qb0{cge}\tbu0\qb0g|\hl j\en -\endextract % terminate excerpt +\zendextract % terminate excerpt \end{music} \end{verbatim}\end{quote} -\begin{itemize} +\begin{itemize}\setlength{\itemsep}{0ex} \item \verb|\ibu0f0| begins an upper beam, aligned on the \ital{f}, reference number 0, slope 0 \item \verb|\tbu0| terminates this beam before writing the second \ital{g} by means of \verb|\qb0g| \item \verb|\qb..| indicates a note belonging to a beam. \item \verb|\sk| sets a space between the two quarters in the right -hand, so that the second is aligned with the third eighth of the left hand. - \item\verb|\qlp| is a quarter with a point. +hand, so that the second one is aligned with the third eighth in the left hand. + \item\verb|\qlp| is a dotted quarter note. \item\verb|\ibbl1j3| begins a double beam, aligned on the \ital{C} -(\verb|j| at this pitch) of slope 15\%. +(\verb|j| at this pitch) with slope 15\%. \end{itemize} \section{The three pass system} \TeX's line-breaking procedure implicitly assumes that a normal line of text will contain many words, so that inter-word glue need not stretch or shrink too much to justify the line. -This strategy does not work very well for music. If each bar of music -is treated as a word, in the sense that inter-bar glue is placed -at the end of each bar, then the usual result is the appearance of -unsightly gaps before each bar rule. This follows naturally from the -fact that the number of bars per line is normally many fewer -than the number of words in a line of text. - -To address the above aim, a three pass system was developed. -On the first pass, information about each bar is written to -an external file, by default \verb|jobname.mx1|. -This file begins with a header listing parameters -such as line width, paragraph indentation, clef, sign and meter widths, -and the first-pass elemental spacing \keyindex{elemskip}. -Width information within the bars is classified either as ``soft'' or ``hard'': -``soft'' widths are those amenable to subsequent rescaling (e.g. a note box), -while ``hard'' widths represent unscalable material such as clef symbols, -key signatures and bar rules.\index{soft width}\index{hard width} - -After the first pass, an external routine is run to -determine optimal values of the elemental spacing (\verb|\elemskip|) -for each line, so as to properly fill each line, and to lead to -the piece filling an integral number of lines. This routine was written +One might at first consider extending this to music, treating each bar like a +word with no stretchable internal space. But typically this would lead to unsightly +gaps before each bar rule, simply because the number of bars per line +is normally many fewer than the number of words in a line of text. +\musixtex\ needs a more sophisticated horizontal spacing algorithm +than is used in \TeX. + +To understand how \musixtex\ solves this problem, we have to +recognize two different kinds of horizontal space, \ital{hard}\ and +\ital{scalable}. Hard space is fixed and always represents the same +physical distance. +Examples of hard space are the widths of bar rules, clefs, +and key signatures. Scalable space can be stretched as needed. It +is what is normally used for the space after notes or rests. At the +outset it is only defined in a relative sense. In other words, +scalable spaces are defined as multiples of \verb|\elemskip|, an +initially undefined elemental spacing unit. For example, in \textbf{PMX}\ +all sixteenth notes +are typically assigned a scalable width of 1.41\verb|\elemskip|. +One main job of \musixtex\ is to compute the physical value of +\verb|\elemskip|, often expressed in points (72nds of an inch). +The correct value is that which makes all the scalable space on +a line just fill up what's not occupied by hard space. Obviously +it may vary from line to line. + +To this end a three pass system was developed. To start the +first pass on the file \verb|jobname.tex|, you would enter \verb|tex jobname|. +Information about each bar is written to +an external file named \verb|jobname.mx1|. +This file begins with a header containing parameters +such as line width and paragraph indentation. Then the hard and +scalable space is listed for each bar. +\index{scalable width}\index{hard width} + +The second pass, which is started with \verb|musixflx jobname|, +determines optimal values of the elemental spacing unit \verb|\elemskip| +for each line, so as to properly fill each line, and to spread +the piece nicely over an integral number of full lines. This routine was written in FORTRAN and now converted to C rather than \TeX, the main reason -being the lack of an array -handling capability in \TeX, and the concern that if such a routine -were added to \musixtex, storage problems might be exacerbated. +being the lack of an array handling capability in \TeX. -The resulting routine reads in the file \verb|jobname.mx1|, and writes its +\verb|musixflx| reads in the file \verb|jobname.mx1|, and writes its output to \verb|jobname.mx2|. The latter file contains a single entry for each line of music in the reformatted output. The key piece of information is the revised value of \keyindex{elemskip} for each line. -Next, the file is re-\TeX-ed. On this third pass, +Next, the file is \TeX-ed again, by entering \verb|tex jobname|. On this third pass, the \verb|jobname.mx2| file is read in, and the information -used as described above. +is used to physically define the final score and embed the +page descriptions into a \verb|dvi|\ file. + +You may wonder how the same command can +cause something different to happen the second time it is issued. The explanation +is that \musixtex\ checks for the presence of \verb|jobname.mx2|. If it's +not present, the first pass is executed; if it is, the third pass. Obviously if +you've made some corrections that affect any horizontal spacing, you must remember +to delete the old \verb|jobname.mx2| and then rerun all three passes, or +build or use a batch script that does so. -To give an easy example: after pass 1 you get the following output: +Here's an example. Here, no value for \verb|\elemskip| is explicitly specified, +so \musixtex\ assign a single, default value. After the first pass you might get +the following output: \begin{music} \hsize=100mm @@ -431,7 +563,11 @@ To give an easy example: after pass 1 you get the following output: \NOtes\qu c\qp\enotes \setdoubleBAR\raggedstoppiece \end{music} -After running \verb|musixflx| and \TeX-ing the second time you'll get: + +\noindent Note that the space after every quarter note is the same, and +that lines are not justified. +After running \verb|musixflx| and \TeX-ing the second time you'll +get: \begin{music} \hsize=100mm @@ -461,7 +597,12 @@ After running \verb|musixflx| and \TeX-ing the second time you'll get: \NOtes\qu c\qp\enotes \Endpiece \end{music} -which was coded as: + +\noindent Now \musixtex\ has determined a number of lines +(which is different from the original number), the lines are justified, +and if you look carefully you +can see that the space after quarters in the first line +is smaller than in the second. This example was coded as: \begin{verbatim} \hsize=100mm \generalmeter{\meterfrac24}% @@ -481,23 +622,27 @@ which was coded as: \NOtes\uptext{\it tr}\qu e\uptext{\it tr}\qu d\en\bar \NOtes\qu c\qp\en\Endpiece \end{verbatim} -The biggest advantage of using a 3-pass system is the very easy and fast -alteration to the layout which is possible, especially of a long masterpiece, -by changing only one parameter, namely \keyindex{mulooseness}. This value -acts analogous to \TeX's \verb|\looseness| command. For non-\TeX-perts: if you -end a paragraph and state \verb|\looseness=-1| somewhere inside, then -\TeX\ will try to make this paragraph one line shorter than it normally would. -\musixtex\ does the same, but instead for paragraphs, for \ital{sections}. -What is a \ital{section}? As long as you don't force a line break, this means -the whole piece. When you force a line break with either +One benefit of the 3-pass system is the quick and easy +alteration to the layout which can be achieved +by changing only one parameter, namely \keyindex{mulooseness}. This value +acts analogously to \TeX's \verb|\looseness| command. For non-\TeX-perts: if you +state \verb|\looseness=-1| somewhere inside any paragraph, then +\TeX\ will try to make the paragraph one line shorter than it normally would. +With \verb|\mulooseness|, \musixtex\ does the same, but for \ital{systems} +and \ital{sections} rather than lines and paragraphs. A system is just a group of +staves treated as a unit, and in this discussion is analogous to a line of text. +What is a \ital{section}? It's any chunk of coding not containing a +forced system break, System breaks can be forced with \keyindex{stoppiece}, \keyindex{endpiece}, \keyindex{zstoppiece}, \keyindex{Stoppiece}, \keyindex{Endpiece}, \keyindex{alaligne} -\keyindex{zalaligne}, \keyindex{alapage} or \keyindex{zalapage} you start a -new \ital{section}. Somewhere\footnote{Advisably, at the beginning or +\keyindex{zalaligne}, \keyindex{alapage} or \keyindex{zalapage}. If none +of these is present, the section comprises the whole piece. +Somewhere\footnote{Advisably, at the beginning or at the end of the section, for the sake of clarity.} -before the end of the \ital{section}, you can change the value of -\keyindex{mulooseness} to something different from the default of 0. +before the end of the section, you can change the value of +\keyindex{mulooseness} to something different from the default of 0, and +\musixtex\ will typeset that section with a different number of systems. To give an easy example, changing the last line in the previous example to: \begin{verbatim} @@ -533,12 +678,12 @@ yields: \NOtes\qu c\qp\enotes \mulooseness1\Endpiece \end{music} -or: + +\noindent On the other hand, \begin{verbatim} \NOtes\qu c\qp\en\mulooseness=-1\Endpiece \end{verbatim} -yields (a little bit tight, but only for the sake of -demonstration of \keyindex{mulooseness}): +yields \begin{music} \hsize=100mm @@ -568,56 +713,72 @@ demonstration of \keyindex{mulooseness}): \NOtes\qu c\qp\enotes \mulooseness-1\Endpiece \end{music} -Here is the fastest way to get a satisfactory output: + +\noindent which is tighter than you would ever want, but serves to further +demonstrate the use of \keyindex{mulooseness}. + +If you want to build up a \musixtex\ input file +manually (which in fact very few users will ever need to do, considering the +availability of \textbf{PMX}), here is a roadmap for one way to proceed: \begin{enumerate} - \item build up the piece bar\footnote{Or two or three, -whatever you prefer.} by bar. Pay much attention to correct spacings, and go -on only when you are really satisfied with them. + \item Enter the data one \verb|\notes| group at a time, taking care to select the +relative horizontal spacing for each group (via the macros discussed in section~\ref{newspacings}) +so as to maintain a consistent relationship between scalable space and note durations. +This will be discussed in a great deal more detail in Chapter 2. \item \TeX~$\Longrightarrow$ {\tt musixflx} $\Longrightarrow$ \TeX. \item Look at the output and decide if you want to have more or fewer -systems lines, e.g.~to fill the page or to get an even number of +systems, e.g.~to fill the page or to get an even number of pages.\index{musixflx@{\tt musixflx}} - \item Adjust \keyindex{mulooseness}. However, {\large\bf beware~:} -\verb|\mulooseness| increases the target number of lines by its value. This is -of no serious trouble for large pieces, but if you say \verb|\mulooseness=3| -in a piece or in a section which only has 3 bars (three in the musical sense, -i.e. two \verb|\bar| in the text), then {\tt musixflx} will not be able to split -3 bars into 4 lines... and it will hopefully result in a diagnostic by {\tt -musixflx}, but possibly also in an arithmetic fault... - \item Delete the \verb|jobname.mx2| and again\\ -\TeX~$\Longrightarrow$ \verb|musixflx| $\Longrightarrow$ \TeX -\quad\ital{(For hackers: watch the difference in {\tt jobname.mx1}!)} -\end{enumerate} - -\begin{remark} -Instead of looking at the output of the previous run and modifying the -number of systems using \keyindex{mulooseness} one can directly specify -the number of lines in a section by assigning a positive number to -\keyindex{linegoal}. Use \keyindex{linegoal} in the same way as -\keyindex{mulooseness} somewhere in a section, preferable at start -or end. \keyindex{mulooseness} must be zero for \keyindex{linegoal} -to work. Both are automatically set to zero after processing the end -of a section e.g. by \keyindex{stoppiece}. \keyindex{linegoal} -requires the latest version of musixflx (0.83). -\end{remark} - - \noindent If you have really followed this step by step, then your whole -layout will be ready and you will not have to generate \verb|jobname.mx2| -again. This only holds as long as you don't change any spacings. - -If you get the warning: \verb|You can't use \raise ...|, than read the upper -paragraph again and follow the instruction of point 5. - -There are some more advantages. Without using \ital{glue}, -every horizontal position in a line can be computed. This enables using, -e.g.~octave lines, without specifying a dimension, but by saying -\verb|\i...| and \verb|\t...|. + \item If you want to change the number of systems in a section, adjust +\keyindex{mulooseness} accordingly. Keep in mind that each section cannot have fewer +systems than bars. +\item Delete \verb|jobname.mx2| and repeat the process\\ +\TeX~$\Longrightarrow$ \verb|musixflx| $\Longrightarrow$ \TeX. +\end{enumerate} - \subsection{External executable {\tt musixflx}} -One drawback affecting portability between computers is the executable -{\tt musixflx}\index{musixflx@{\tt musixflx}}. We are still searching for -people who are able to compile the C-source and maintain it. +There is an alternate way to proceed if you know at the outset +how many systems +you want in a section. You can specify it directly by assigning a +positive number to \keyindex{linegoal} somewhere within the +section (\verb|\linegoal| requires +version 0.83 or later of \verb|musixflx|). +\keyindex{mulooseness} must be zero +for \keyindex{linegoal} to work. Both are automatically reset to +zero after processing the end of a section e.g. as defined by +\keyindex{stoppiece}. + +Finally, for large scores (more than 4 pages or so), having +only one section and an overall value of \verb|\mulooseness| becomes +impractical since one wants not only to have nicely spaced systems, but also +completely filled pages without empty top and +bottom margins on the last page. It is then wise to force the total number of +pages and possibly the line breaks in each page, which can be done using +\keyindex{alapage} and/or \keyindex{alaligne}\footnote{This is the technique +always used by \textbf{PMX} in constructing a \musixtex\ input file.}. +%avrb +%, or more automatically by +%means of the \keyindex{autolines} command borrowed from \musictex\ and +%implemented in the additional {\ttxem{musixcpt.tex}} file +%avre + +There is another advantage to \musixtex's way of using scalable space and +the three pass system. In +\TeX nical terms it eliminates the need for \ital{glue}, and enables +every horizontal position in a line to be computed. This in turn enables certain +variable length symbols such as slurs to be specified by macros entered at +their beginning and ending points, rather than having to estimate the +length of the symbol and enter it at the starting point. + + \subsection{External executable \texttt{musixflx}} +One issue that compromises portability between computers is the +need for the executable {\tt musixflx}\index{musixflx@{\tt +musixflx}}. +%avrb +To address this, the C source and compiled versions for various OS's are included in +\verb|musixtex.zip| and are available from the +\href{http://icking-music-archive.org}{\underline{Werner Icking Music Archive}}. +%avre On most computers, the executable is invoked by typing the name of the program and the name of the file to be acted upon. \ital{i.e.} @@ -632,443 +793,375 @@ Optionally, you can add a letter to indicate one of the debug modes, which are: \end{quote} To allow for ease of use with a batch file, \verb|musixflx| can either be fed with \verb|jobname.mx1|, \verb|jobname.tex| or only -\verb|jobname|, all of which opens \verb|jobname.mx1|. - - \medskip For large scores (more than 4 pages approximately), having -only one section and an overall value of \verb|\mulooseness| becomes -impractical since one wants not only to have nicely spaced systems, but one -also usually wants to have completely filled pages to avoid empty top and -bottom margins on the last page. It is then wise to force the total number of -pages and maybe the line breaks in each page, which can be done by either using -explicit \keyindex{alapage} and \keyindex{alaligne}, or more automatically by -means of the \keyindex{autolines} command borrowed from \musictex\ and -implemented in the additional {\ttxem{musixcpt.tex}} file. - \subsection{Restrictions and warnings} If you have worked with \musictex\ -before, you must be aware that two main things have changed, namely the -spacing (and spacing commands) and the line breaking, see section~\ref{spacing}, -p.~\pageref{spacing} and section~\ref{linebreak} p.~\pageref{linebreak}. - - %\check - A serious practical problem concerns the effect of unrecorded spaces, such as -those created by source lines not ended by \verb|%| \index{%@{\tt\char37}} or -\keyindex{relax} or another control sequence ending in a letter. These will -result in the dreadful {\bf Overfull hbox} messages appearing during pass 3. +\verb|jobname|, any one of which will open \verb|jobname.mx1|. + + \subsection{Unrecorded spaces: the novice's bugaboo} + +Because of the way \musixtex\ accounts for hard and scalable space and avoids +using glue, it is absolutely essential that every horizontal space be +properly entered into the input file. The most common error in this regard +is including a blank space in the midst \ital{or at the end} of an input line. +Such a blank space, or for that matter any stray character not entered with +an appropriate \musixtex\ macro, will not be properly +recognized and recorded by \musixtex, but it will still be treated like +ordinary text by \TeX. The symptoms of such a transgression will be an +{\bf Overfull hbox} warning during the third pass, and the appearance of +either excessive blank horizontal space or thick black vertical lines in +the page image. \medskip \centerline{\boxit{Considerable discipline is needed to avoid this problem!}} -When you start using this software package, you will spend a lot of time -searching for the cause of over/underfull-hbox warnings, which will appear during -pass 3. You may ignore them during pass 1, -but \ital{you must} find their cause when they -appear during pass 3. - -In \musixtex\ there is no glue (only $\pm$ 1pt behind \verb|\writesignatures|), -so it works only if every space is recorded in the correct way. As a result, -never use -\verb|\hskip| or \verb|\kern| with the exception of \ital{zero}-boxes, like -\verb|\rlap|, \verb|\llap|, \verb|\zcharnote|, \verb|\uptext|, etc., or -(apparently) fixed length boxes like \verb|\hsong|. But that is not all---all -spacing commands\footnote{Except {\Bslash hardspace} which is an exception and has -the opposite purpose.} must be fed with scalable values -(\ital{e.g.} \verb|\noteskip|, \verb|\elemskip|, \verb|\afterruleskip| and -\verb|\beforeruleskip|, optionally preceded by an integer or decimal number). - -\verb|musixflx| can't work if the values of \verb|\noteskip|, -\verb|\afterruleskip|, \verb|\beforeruleskip|, are directly assigned -``hard''\footnote{Hard values are all values which are not scalable} -values in between -\verb|\startpiece| and \verb|\stoppiece|\footnote{{\Bslash endpiece} has the -same meaning}.\index{hard spacing} - -These restrictions make it hardly compatible with most sources designed for -\musictex\footnote{Most examples provided by D. {\sc Taupin} in -\musictex's distribution can be run with \musixtex\ without serious -problems... However, they will eventually have to be corrected for the sake of -compatibility.}. Most of them have to be adjusted to get things going. - -Some values are much more important than in \musictex, -namely \verb|\elemskip|, \verb|\afterruleskip| and \verb|\beforeruleskip|. -The ratio between them is especially very important if you use -\keyindex{mulooseness} often to adjust the number of lines: -all of them are multiplied by the same factor in each section. - %\check - \subsection{\musixtex's laws} -\begin{enumerate} - \item Never have a line that doesn't finish either with a control sequence -or with a \verb|%| -inside of \verb|\startpiece...\stoppiece| +The best technique for avoiding such unpleasantness is to avoid entering +any nonessential blanks within input lines, and to end every +input line with either \verb|%|\index{%@{\tt\char37}} or +\keyindex{relax}, unless it already ends with a control sequence +ending in a letter. + +There are other ways to enter unrecorded space which should be +avoided. Between \verb|\startpiece| and \verb|\stoppiece| or +\verb|\endpiece|, never use \verb|\hskip| or \verb|\kern| except +within \ital{zero}-boxes like \verb|\rlap|, \verb|\llap|, +\verb|\zcharnote|, \verb|\uptext|, etc., and never assign hard +values to scalable dimensions like \verb|\noteskip|, +\verb|\elemskip|, \verb|\afterruleskip| and \verb|\beforeruleskip| +\footnote{Note that {\Bslash hardspace} does not fall in this +category; it is specifically designed to enter hard space in a way +the \musixtex\ can properly record it}. + +Here is a checklist of tips related to spacing issues. Because the +foregoing several paragraphs are so important, some of their content +is repeated in the list. -\begin{center} -\Large\bf !!! \musixtex\ forgives NOTHING !!! -\end{center} - (a space in the default font (using plain-\TeX) causes 3.33pt of unrecorded space, - but there is only $\pm$ 1pt of glue in \musixtex) - \item \verb|\off| must be used with relative values, like - \verb|\noteskip|, \verb|\elemskip|, \verb|\after[before]ruleskip| - \item \verb|\qsk| and \verb|\hqsk| are now scalable, e.g. \verb|\qsk| - doesn't mean exactly one note head width (it depends on \verb|\elemskip| - and \verb|flex_factor|) - \item Text of songs and any non-\musixtex\ text must be put in zero boxes, like - \verb|\zcharnote|, \verb|zchar|, \verb|rlap|, \verb|lrlap|, \verb|llap|, -\verb|uptext|, \verb|zsong...|. However, specific features are now provided, -namely \verb|\hardlyrics| and \verb|\hsong| (see \ref{lyrics}, +\begin{enumerate} + \item +Between \verb|\startpiece| and \verb|\stoppiece| or \verb|\endpiece|, +end every input line with a either \verb|%| or a command with no arguments +(including \verb|\relax|). + \item \verb|\off| must only be used with scalable values, e.g. +\verb|\noteskip|, \verb|\elemskip|, \verb|\afterruleskip|, and + \verb|\beforeruleskip|. + \item Remember that \verb|\qsk| and \verb|\hqsk| are scalable, i.e. \verb|\qsk| + doesn't necessarily mean exactly one note head width (it depends on \verb|\elemskip|). + \item Lyrics and any other non-\musixtex\ text must be put in zero boxes +such as + \verb|\zcharnote|, \verb|\zchar|, \verb|\rlap|, \verb|\lrlap|, \verb|\llap|, +\verb|\uptext|, or \verb|\zsong|. Additional specific capabilities for entering +lyrics are provided by + \verb|\hardlyrics|, \verb|\hsong|, and---most significantly---the +text-emplacement macros defined in \verb|musixlyr.tex| (see \ref{lyrics}, p.~\pageref{lyrics}). - \item Don't touch either \verb|\noteskip| with hard values, - or \verb|\after[before]ruleskip| at all inside of - \verb|\startpiece (\debutmorceau) ... \stop[end]piece (\susp[fin]morceau)| + \item +Between \verb|\startpiece| and \verb|\stoppiece| or \verb|\endpiece|, +don't assign hard values to \verb|\noteskip|, \verb|\beforeruleskip|, +or \verb|\afterruleskip|. \end{enumerate} -\section{Some highlights} - %\check - \subsection{Signatures} -Signatures can be stated either for all instruments, for example by -\keyindex{generalsignature}\verb|{-2}| which sets two flats on each staff, or -separately for each instrument. - -Thus, the \keyindex{generalsignature} -can be partly overridden by -\keyindex{setsign}\verb|2{1}| which puts one -sharp on the staffs of \itxem{instrument number} 2. Of course, the -current signature may change at any time as well as the meters and clefs. - \subsection{Transposition} - An important question is: \ital{``can \musixtex\ transpose a score~?''}. -The answer is now 99.5~\% \ital{yes}. If fact, there is an internal register -named \keyindex{transpose} the default value of which is zero, but it may be -set to any reasonable positive or negative value. In that case, it offsets all -symbols pitched with letter symbols by that number of pitch steps. However, -it will neither change the signature nor the local accidentals, and if -- for -example -- you transpose a piece written in $C$ by 1 pitch, \musixtex\ will -not know whether you want it in $D\flat$, in $D$ or in $D\sharp$. This might -become tricky if accidentals occur within the piece, which might have to be -converted into flats, naturals, sharps or double sharps, depending on the new -chosen signature. To avoid this trouble, \ital{relative} accidentals -have been implemented, the actual output of which depends on the pitch of -this accidental and on the current signature.\index{relative accidentals} - %\check - \subsection{Selecting special instrument scores} -Another question is: \ital{``can I write an orchestral score and extract the -separate scores for individual instruments~?''} The answer is 95~\% -\ital{yes}: in fact, you can define your own macros -\verb|\mynotes...\enotes|, \verb|\myNotes...\enotes| with as many -arguments as there are in the orchestral score (hopefully this -is less than, or equal to -9, but \TeX perts know how to work around) and change its definition -depending on the selected instrument (or insert a test dependent -on the value of some -selection register). But the limitation is that the numbering of instruments -may change, so that \verb|\setsign3| may have to become \verb|\setsign1| if -instrument 3 is alone. But, in turn, this is not a serious problem for -average \TeX\ wizard apprentices. - %\check - \subsection{Variable staff and note sizes} - Although the standard staff size is 20pt, \musixtex\ allows scores of 16pt -and 24pt staff sizes. In addition, any instrument may have a special staff -size (usually smaller than the overall staff size) and special commands -\verb|\smallnotesize| or \verb|\tinynotesize| enable notes (and also beams or -accidentals) to be of a smaller size, in order to quote optional notes or -\ital{cadenzas}. - %\check -\section{How to get it} -Primary site is {\tt hprib.lps.u-psud.fr} (anonymous {\tt ftp}); say: - - \verb|cd pub/musixtex| - - \verb|mget musix*.tex| (to get the macros) - - \verb|cd /pub/musixtex/mf| - - \verb|mget *.mf| (to get the source of the fonts) - - \verb|cd /pub/musixtex/tfm| - - \verb|binary| - - \verb|mget *.tfm| (to get the font metrics) - -\noindent or: - - \verb|cd /pub/music\_zips| - - \verb|binary| - - \verb|mget musix*.zip| (to get the zipped packages specific to \musixtex) - -\medskip\noindent Official mirrors are -the CTAN servers. To get it you have tou say: - - \verb|cd ctan| (to go to the CTAN server) - \verb|cd macros/musixtex/taupin| - - \verb|binary| - - \verb|mget *.zip| (to get the zipped packages) - -\medskip The whole \itxem{distribution} can fit into a single 1.2Mbyte or -1.44Mbyte diskette. All sources (including fonts) are provided, -either separately or ``zipped''. - -{\sl REMARK: normally, the {\tt musixtex.zip} file expands into binary files -valid for any system, and text files (the \TeX{} and \MF{} sources) in the -\unix{} representation, namely with a ``LF'' character between each record. PC -users might complain that their own coding is ``CR+LF'' (``CR'' usually -appears as a ``{\tt \^{}M}''), but we checked that: - \begin{itemize} - \item the \ixem{MS-DOS} editor handles both denotations, - \item the ``emacs'' and ``microemacs'' also do, - \item the \TeX{} and \MF{} executable routines (et least the emTeX ones) -also accept both representations. - \end{itemize} - However, for the sake of compatibility, we now provide two routines for PC's, -namely {\tt dtou.exe} and {\tt utod.exe}, which convert text/source files -from/to the MS-DOS denotation to/from the \unix{} denotation. -} - - %\check -\section{Enhancements} - \subsection{Recent easy enhancements} Many enhancements have been asked for, -to the ``father'' of \musixtex, namely \musictex, and this is a proof that it -is considered as useful by many people. Some of these enhancements which -seemed hard were in fact rather easy to implement, for example small notes to -represent grace notes and cadenzas, or gregorian chant features. - - Some of them were more difficult, such as handling of lyrics now provided -since version T.40. +\section{Further highlights} %\check - \subsection{Enhancement limitations} -Many requested improvements have not been -\ital{yet} implemented for several reasons: - \begin{itemize} - \item The authors' natural laziness (!) - \item More seriously: many of them would require using some more -registers; unfortunately, \TeX\ registers are not numerous (256 of each -kind and the limit of \keyindex{dimen} registers is nearly reached -(especially using \LaTeX), but we do our best). - \item We do not think it is wise to introduce in \musixtex\ itself a great -number of macros which would be poorly used by most users: the reason is that -\TeX\ memory and --- moreover --- \TeX\ registers are severely limited and that -unused macros may occupy many of these, leading to things crashing -because of \verb|TeX capacity exceeded|. - - Therefore, many additional library files are now provided, which may be -invoked or not, depending on the user's specific needs. Most of them are used -to compile this \LaTeXe\ manual... except the {\tt musixadd.tex} and {\tt -musixmad.tex}. - \end{itemize} - %\check - \section{Acknowledgements} The idea of implementing the present package is -due to the previous work (\mutex)\index{mutex@\protect\mutex} of \mbox{Andrea -{\sc Steinbach}} and Angelika {\sc Schofer}\footnote{Steinbach A. \& Schofer -A., \ital{Theses} (1987, 1988), Rheinische Friedrich-Wilhelms Universit\"at, -Bonn, Germany.}. This work provided the basis of the Metafont codes which are -still used here... with 100\% corrections and updates.\index{Schofer, A.@{\sc -Schofer, A.}}\index{Steinbach, A.@{\sc Steinbach, A.}} - - - English language is progressively checked thanks to Cecil {\sc Churms} from -National Accelerator Center (South Africa). + \subsection{Key signatures} +A single key signature can be assigned to all \nolinebreak3 +instruments, for example by \keyindex{generalsignature}\verb|{-2}| +which sets two flats on each staff. \keyindex{generalsignature} +can be overridden for selected instruments, for example by +\keyindex{setsign}\verb|2{1}| which puts one sharp on each staff +of instrument number 2. Of course, the current signature as well +as meters and clefs may change at any time. +\subsection{Transposition} +With some extra attention, a score can be input in such a way that it is +fairly easily transposed. There is an internal register +called \keyindex{transpose}, the default value of which is zero, but which may be +set to any reasonable positive or negative value. It defines a number of pitch +steps (lines or spaces on a staff) by which all pitched symbols with be offset, provided +they have been entered with letter values to represent their pitch. +However, +it will neither change the local accidentals nor the key signature. + +For +example, suppose a piece were originally input in F major, and it contained a +B natural, and you wanted to transpose it to G. If you simply set +\verb|\transpose| to 1 with no other special considerations, then +the key signature would not change, and +the B natural would appear as a C natural, whereas it should be a C sharp. +So first you must explicitly change the key signature. Then, to +solve the problem with accidentals, you should declare +\verb|\relativeaccid|, which will cause the actual appearance of any +accidental to depend on the pitch of +the accidental as well as the current key signature. But the use of this +facility requires the typesetter to have entered the original set of accidentals +according to a nonstandard convention wherein an accidental does not +specifically refer to the black or white keys on a piano, but to the +amount by which the pitch is altered up or down from what it would naturally +have been, taking the key signature into account.\index{relative accidentals} This +is discussed in more detail in section~\ref{transposeaccids}. Now, finally, you +can enter \verb|\transpose=1| with more or less the desired effect. + +More or less, because there is also an issue with stem +and beam directions. Normally a typesetter would want full control over them, +and would exercise that control by entering them with macros that explicitly +assign the direction. Naturally the assigned directions would persist +even after changing \verb|\transpose|. With respect to stems of unbeamed notes, +this matter can also be addressed at +the input level, by using special macros for notes that leave the +decision about stem directions up to \musixtex. These macros do the right +thing in the face of transposition. They are discussed in +section~\ref{autostemdirections}. Unfortunately there is no corresponding +such facility for beams, so the typesetter will have to edit the transposed +score to adjust beam directions as required\footnote{\textbf{PMX} +will automatically adjust both stem and beam directions when transposing, which +is yet another reason to use it. However +if a piece is to be transposed, the typesetter must still explicitly activate relative accidentals +and enter accidentals according to the relative accidental convention.}. %\check -\chapter{Practical use} -\section{Heading statements} -Before any reference to \musixtex\ macros: - -\verb|\input musixtex|\footnote{It is highly recommended to build up a format. -If you don't know how to do, you can refer to the same instruction you -perhaps heard or read before: ``Ask you local \TeX-wizard.''. Otherwise -it might be a good idea to look at chapter \ref{installation} -(``Installation'') where some hints are given to build a \musixtex\ format -(ref{formatbuild}).} + \subsection{Extracting parts from a score} Another question is: +\ital{``Can I write a full score and then extract separate scores for +each individual instrument?''} + +The answer is yes, but only with a great deal of special attention---so much, +in fact, that we shall strongly recommend that if you want +to do this, you should use \textbf{PMX}, which makes the process +very easy. If for some reason you choose to ignore this advice, you may +refer to the details that were provided in the prior version of this manual, +\href{http://icking-music-archive.org/software/musixtex/mxdoc112.pdf} +{\underline{mxdoc112.pdf}}. + +%After assigning symbolic numbers to instruments, +%there are macros (see \ref{instrum-inhibit}) that permit +% \begin{itemize}\setlength{\itemsep}{0ex} +% \item choosing which instrument the following source code is attached to, +% \item choosing which staff of an instrument the following source code is +%attached to, +% \item hiding one or several instruments by zeroing out their staff sizes and staff +%numbers. +% \end{itemize} %\check - \noindent which may be followed by \verb|\input musixadd| in the case you -have more than six instruments or more than 6 simultaneous beams -or ties or slurs.\index{musixtex.tex@{\tt musixtex.tex}} -\index{musixadd.tex@{\tt musixadd.tex}} + \subsection{Staff and note sizes} + Although the standard staff size is 20pt, \musixtex\ allows scores with +sizes of 16, 24, or 29pt. Furthermore, any instrument may be assigned its own special staff +size (usually smaller than the overall staff size), and there are special macros +(e.g. \verb|\smallnotesize|, \verb|\tinynotesize|) that cause notes, beams, and +accidentals all to take a different size. + +\subsection{Add-in macro libraries} +During the early stages of \musixtex's development, common versions of \TeX\ itself were +very limited in capacity, especially in terms of the numbers of registers that could +be defined for use in macros. For this historical reason, many important enhancements +to \musixtex\ are available only via add-in libraries. The user can thus pick and choose +which to include for any particular compilation. Most of these are included in +\verb|musixtex.zip|, and their uses are discussed in this manual. The +libraries have names like \verb|blabla.tex|, and are activated by including a line +like \verb|\input blabla|\ within the the input file. The most common such files +are \ttxem{musixadd.tex} and \ttxem{musixmad.tex} which respectively increase the +number of instruments from the default 6 to 9 or 12 as well as increasing available numbers +of other features; \verb|musixps.tex| which enables Type K postscript slurs; and +\verb|musixlyr.tex| which greatly eases typesetting lyrics. In fact the latter two, +while now included in \verb|musixtex.zip|, are not documented in this manual but +in separate files inside \verb|musixtex.zip|, namely \verb|musixps.tex| itself and +\verb|mxlyrdoc.pdf| respectively. + +\section{Where to get the software and help using it} +The home base for all matters related to \musixtex\ is the +Werner Icking Music Archive, at +\href{http://icking-music-archive.org}{\underline{http://icking-music-archive.org}}. +The most up-to-date versions of \musixtex\ and friends are located in the +\href{http://icking-music-archive.org/software/indexmt6.html}{\underline{software}} +section of the archive. Assuming you already have \TeX\ and only want to install +\musixtex, the file you need to download will be named +\href{http://icking-music-archive.org/software/musixtex/musixtex.zip} +{\underline{\texttt{musixtex.zip}}} . Further details about +the installation process are given in section \ref{installation}. + +The Werner Icking Archive also hosts the +\href{http://icking-music-archive.org/mailman/listinfo/tex-music} +{\underline{\TeX-music mailing list}}, where you will always find +someone willing to answer questions and help solve problems. + + \section{A very brief history of \musixtex} +The idea of using \TeX\ to typeset music appears to have originated +around 1987 with the master's thesis of Andrea +{\sc Steinbach} and Angelika {\sc Schofer}\footnote{Steinbach A. \& Schofer +A., \ital{Automatisierter Notensatz mit \TeX}, master's thesis, +Rheinische Friedrich-Wilhelms Universit\"at, +Bonn, Germany, 1987}. They called their package +\mutex\index{mutex@\protect\mutex}. It was limited to a single staff. +It introduced two key concepts: (1) using +a large number of font characters to construct beams and slurs, and (2) using +\TeX\ glue to help control horizontal spacing and justification. + +The next major step came around 1991 when Daniel {\sc Taupin} created \musictex. +Its major enhancement was to allow multiple staves. But this came at a +price: some flexibility was lost in controlling horizontal spacing and +a great deal of trial and error became necessary to avoid excessive or +insufficient gaps before and after bar lines. + +\musictex\ was a single-pass system. To remedy its shortcomings it became clear +that a multi-pass system would be required. Around 1997 Dr. Taupin along with Ross {\sc Mitchell} +and Andreas {\sc Egler} created the first version of \musixtex. At last a fully +automatic procedure was coded so as to provide pleasing horizontal spacing in +multi-staff scores. + +Significant enhancements to \musixtex, which have already been mentioned, have been provided +by Stanislav {\sc Kneifl} (Type K postscript slurs) and +Rainer {\sc Dunker} (Lyrics handling via \verb|musixlyr.tex|). + +Since Dr. Taupin passed away in 2003, the primary maintainer of \musixtex\ has been +Olivier {\sc Vogel}, with substantial assistance from Andre {\sc Van Ryckeghem}, +Cornelius {\sc Noack}, and Don {\sc Simons}. + +No discussion of the history of \musixtex\ would be complete without mentioning +the contributions of Werner {\sc Icking}. From the early days of \mutex\ until +his untimely death in 2001, he served this line of software as its most prominent +proponent, beta tester, web site and mailing list editor, consultant, +problem solver, and inspiration for +many third-party enhancements including \textbf{PMX}. In fact he founded the +mailing list and the archive that now is named in his honor. The web site is +currently edited by Christian {\sc Mondrup}, the software page by Don {\sc Simons}, +and the mailing list by Maurizio {\sc Codogno}. - %\check - After that, you may write a complete book of \TeX\ provided that you do not -use \verb|&| as a tabulation character (its \keyindex{catcode} has been -changed) inside the music score and that you do not overwrite \musixtex's -definitions. This means that no special macros have been designed to help you -write titles, author names, comments, literature excerpts, etc., unless you -use \LaTeX\ with the \verb|musixtex| style.\index{\&} - %\check - \section{Before you -begin to write notes} - \subsection{Warnings for the non \TeX pert} -\begin{quote} %\check -When \TeX\ reads a parameter, it inputs one \ital{token}. This means -\ital{one} figure or \ital{one} character or \ital{one} -command\footnote{Syntactically, a \ital{command} is made of a +\chapter{Elements of \musixtex} +\section{Setting up the input file} +\subsection{What makes a \TeX\ file a \musixtex\ file?} +A \musixtex\ input file is a special kind of \TeX\ input file. What makes it +special is that it must contain the command +\verb|\input musixtex| +before any reference to \musixtex\ macros. After that might follow +\verb|\input musixadd| or \verb|\input musixmad| if you want to have +respectively more than six or nine instruments or simultaneous beams, +ties, or slurs.\ixtt{musixtex.tex}\ixtt{musixadd.tex}\ixtt{musixmad.tex} +Since it is still a \TeX\ file, after that, if you wished to, +you could write a whole non-musical book +using normal \TeX\ commands provided that you did not +use \verb|&| as a tab character like in plain \TeX\ (In \TeX\ lingo, +its \keyindex{catcode} has been changed). + + \subsection{Cautions for the non \TeX pert} +When \TeX\ reads anything, it inputs one \ital{token} at a time. A token +may be either a \ital{command} or a character. A command (or \ital{macro}, +or \ital{control sequence}) is a \ital{backslash} (``{\Bslash}'') immediately followed by sequence of -\ital{letters}.}. If you want to give more than one char or e.g. a negative -number(`-' is one token and a digit is one) or a command which reads another -parameter, then you have to use braces to transfer the parameter correctly. -For example, the command \verb|\meterfrac| reads two parameters; if you want -to declare a $\frac{8}{12}$ timing and you code: \verb|\meterfrac812|, then -you will get a $\frac{8}{1}$ timing and a misplaced ``\verb|2|''. The correct -coding is \verb|\meterfrac{8}{12}| or \verb|\meterfrac8{12}|. - - - %\check - The next problem is due to spaces. Spaces are ignored at the -beginning of a line. Spaces are ignored immediately behind a \TeX-command -(they indicate the end of that command unless \TeX\ finds characters which are -not \ital{letters}). All other spaces insert \ital{unexpected} space and -they will cause a lot of trouble during third pass. Same remark holds for end -of lines. Thus \verb|\bar| or \verb|\enotes| as last statement in current line -cause no trouble, because an end of line indicates to \TeX\ the end of a -command. - - %\check - If you state \verb|\qu g| and start a new line, then you get into trouble, but -if you say \hbox{\verb|\qu g%|\relax - $$}, you have no more problem -and this is better readable. - -If this sounds complicated, remember that \TeX\ was designed to typeset -text and not music... - - \end{quote} - %\check - \subsection{What you have to specify}\label{whatspecify} - \leavevmode - You should first specify whether you want to typeset music in ``normal'' size -(20pt\index{sizes} per staff) or ``small'' size (16pt) or ``large'' size -(24pt). This is only optional, the default setting is -\keyindex{normalmusicsize}. If you want the smaller size, then you have to -say\footnote{This sets up not only the size of staff, but also the elementary -spacing and the space behind the bar rule.} \keyindex{smallmusicsize}, -\keyindex{largemusicsize}, and \keyindex{Largemusicsize} to have the larger -sizes of 24pt and 28.8pt. - - - - Then, the first compulsory declaration is: - - \keyindex{instrumentnumber}\verb|{|$n$\verb|}| - - \noindent where $n$ is the number of instruments, used by -\musixtex\ to performs loops building staffs, setting signatures, meters, -etc. Therefore, it must be defined before any other statements. -If not then default value is one. An instrument -may consist of several staffs, e.g.~the piano. The difference between one -instrument of several staffs and several instruments is as follows: -\begin{itemize} - \item distinct instruments may have distinct \itxem{signatures}, distinct -staffs of a unique instrument share the same signature. - \item \itxem{stems} may be hung to \itxem{beams} belonging to differents -staffs of the same instrument. - \item \itxem{chords} may extend across several staffs of the same +letters with no intervening spaces. For practical purposes, any single symbol (letter, digit, +special character, or space) that is not part of a command counts as a character +and therefore as a token. + +Each command expects a specific number of parameters. +The tokens ``\verb|{|'' and ``\verb|}|'' are very special, in that (1) they +must occur in matched pairs, and (2) any matched pair together with +the stuff inside counts as a single parameter. +If the first +parameter expected is a single letter, it must either be +separated from the command by a space or +enclosed in braces (otherwise it would be interpreted as part of the command). +For example the command \verb|\ibu| expects three parameters, so the +following are all OK: \verb|\ibu123|, \verb|\ibu1A3|, \verb|\ibu1{`A}3|, +\verb|\ibu{1}{2}{3}|, \verb|\ibu1{-2}3|, or \verb|\ibu1{23}4|, but +\verb|\ibu1234| is not OK; the first three digits are taken as parameters, +leaving the ``4'' with no purpose other than to cause some of the dreaded +unrecorded space that we have already mentioned. + +In the rest of this manual, when describing commands we will write +things like \verb|\qb{|$n$\verb|}{|$p$\verb|}|. It should be understood that +when $n$ and $p$ are replaced by their literal values, the braces may +or may not be necessary. In particular, if both are single digits, no +braces are needed; but if $n$ has two digits, or if $p$ has more than +one character, they must be surrounded by braces. + +Spaces (blank characters) in the input file must be handled very carefully. +They are ignored at the beginning of a line, enabling logical +indentation schemes to help make the file human-readable. There are also a few +other places within lines where blank spaces are OK (such as mentioned in the prior paragraph), +but in general is it safest to avoid +any unnecessary blanks between the beginning and end of an input line. +At the end of a line, the truth is that a command with no parameters, such as +\verb|\bar| or \verb|\enotes| will cause no trouble. However if a command with +one or more parameters is the last item in an input line, it will cause +unrecorded space. The way around this is to end the line with either ``\verb|%|'' +or \verb|\relax|. + + \subsection{Usual setup commands}\label{whatspecify} + + The first decision is what size type to use. \musixtex\ offers four sizes: +``small'' (16-pt-high staves), ``normal'' (20pt),\index{sizes} ``large'' +(24pt), and ``Large'' (29pt). The default is +\keyindex{normalmusicsize}. If you want a different size, then you have to +enter \keyindex{smallmusicsize}, \keyindex{largemusicsize}, or +\keyindex{Largemusicsize}. Each of these commands defines not only the +desired staff size but many other related sizes such as note heads, ornaments, +stem lengths, etc. + + The command \keyindex{instrumentnumber}\onen~defines the +number of instruments to be $n$. If not entered, the default is 1. This number is used in loops +that build staves, +set key signatures, set meters, etc., so if it differs from 1 it must be explicitly +defined before any further commands. + +An instrument may have one or more staves (e.g.~a piano would normally have 2 staves). +The differences between one +instrument of several staves and several instruments with one staff each are as follows: +\begin{itemize}\setlength{\itemsep}{0ex} + \item Different instruments may have different \itxem{key signatures}, while different +staves of an instrument will all have the same key signature. + \item A \itxem{beam} may include notes in different +staves of the same instrument. + \item A \itxem{chord} may extend across several staves of the same instrument. - \item staffs of a unique \itxem{instrument} are tied together -with a big brace at the beginning of each line. + \item If an instrument has more than one staff, they will be linked together +with a big, curly brace at the beginning of each line. \end{itemize} - If the number of staffs is not -equal to one, this number must be specified by: - - \keyindex{setstaffs} $n$\verb|{|$p$\verb|}| - - \noindent where $p$ is the number of staffs, and where $n$ is the -number of the instrument considered (e.g.~\verb|setstaffs3| -for the 3rd instrument, starting from the bottom). - - %\check - Unless all your instruments only use the \ital{violin} clef, you -have to specify all the clefs used for all the instruments. This is done by -coding: - -\keyindex{setclef}\verb|{|$n$\verb|}{|$s_1s_2s_3s_4$\verb|}%| - -\noindent where $n$ is the number of the instrument, $s_1$ is one figure -specifying the clef of the lower staff, $s_2$ the clef of the second staff, -etc. - - The value $s_1=0$ means the \ital{violin} clef (G clef or \itxem{clef de -sol} in French) for the lower staff, $s_2=0$ means the violin clef for the -second staff, etc. If $s_2$, $s_3$ or $s_4$ are omitted in the second argument -of the \verb|\setclef|, these staffs have de default clef, namely 0, i.e. the -violin clef. - - The values $s_1=1$ through $s_1=4$ -mean the \ital{alto} clef (\itxem{clef d'ut} in French) set on first (lower) -through fourth (next to upper) line of the staff. - - The value $s_1=5$ means the \ital{bass} clef at third (middle) line, -$s_1=6$ means the usual \ital{bass} clef (F clef or \itxem{clef de fa} in -French) at the usual fourth line, and $s_1=7$ means the \ital{bass} -(\itxem{subbass}) clef (F clef or \itxem{clef de fa} in -French) at the fifth line. - - The value $s_1=8$ is not used. - - The value $s_1=9$ means the \itxem{french violin clef}, an ancient feature -which sets the G clef (\ital{clef de sol} in French) at the fist line of the -staff. - - If remembering the digits associated with usual clefs seems too difficult, -one can also say - - \verb|\setclef{|$n$\verb|}{|\keyindex{treble}\verb|}| - -\noindent to get the \ixem{violin clef} on all staffs of the specified -instrument. In the same way the most used \itxem{alto clef} (alto clef on 3rd -line) can also be called with - - - \verb|\setclef{|$n$\verb|}{|\keyindex{alto}\verb|}| - -\noindent which sets the lower staff of thet instrument to the alto clef, but -sets other staffs above to the violin clef. -The usual \itxem{bass clef} on fourth line -can also be called with - - \verb|\setclef{|$n$\verb|}{|\keyindex{bass}\verb|}| - -\noindent {\sl IMPORTANT: the commands \verb|\alto| and \verb|\bass| only set -these clefs at the first staff. Other staffs still have the default value of -violin clef.} -As an example, a standard piano score -should include: - - \keyindex{setclef}\verb|1{\bass}%| \quad or\quad - \keyindex{setclef}\verb|1\bass| - -\noindent taking account of the fact that the bass clef is set on the lower -staff, but the upper one has the default value of violin clef. -If the signature is not void, one should code: - - \keyindex{generalsignature}\verb|{|$s$\verb|}| - -\noindent where $s>0$ indicates the number of \itxem{sharps} in the -signature and $s<0$ the number of \itxem{flats}\footnote{We have seen once a +The default number of staves per instrument is 1. If it is different, then it +must be specified by \keyindex{setstaffs}\verb|{|$n$\verb|}{|$p$\verb|}| +where $p$ is the number of staves and $n$ is the +number of the instrument. In \musixtex, instruments are numbered +\ital{starting with the lowest}. +So for example \verb|setstaffs32| +assigns two staves to the third instrument from the bottom. + + The default clef for every staff is the \ital{treble} clef. To assign +any other clef, the command is +\keyindex{setclef}\verb|{|$n$\verb|}{|$s_1s_2s_3s_4$\verb|}| +where $n$ is the number of the instrument, $s_1$ is a digit specifying the +clef for the first (lowest) staff, $s_2$ for the second staff, and so forth. +Note that like +instruments, staves of a given instrument are numbered starting with +the lowest. The parameters $s_2$, $s_3$ and $s_4$ can be omitted, in which case +any unspecified staves will be assigned a treble clef. + +The digits $s$ can range from 0 to 9, with the following meanings: +$s=0$ signifies treble or G clef. +$s=1$ to $4$ mean C-clef, respectively on the first (lowest) through fourth staff line. +$1$ is also called \ital{soprano}, $3$ \ital{alto} and $4$ \ital{tenor}. +$s=5$ to $s=7$ mean F-clef, respectively on the third through fifth staff line. $5$ is +also called \ital{baritone} and $6$ is the normal \ital{bass}. + $s=8$ is not used. +$s=9$ represents a G clef on the first line, also called \ital{French violin} clef. + +The three tokens \verb|\treble|, \verb|\alto|, and \verb|\bass| can be used instead +of a digit for $s$, but only if there would have been but one digit in the string. +So for example the clefs for a standard piano score +could be specified by +\keyindex{setclef}\verb|1{\bass}|. + +To set a common key signature for all instruments, use + \keyindex{generalsignature}\verb|{|$s$\verb|}|, +where $s>0$ is the number of \itxem{sharps} in the +signature and $s<0$ the number of \itxem{flats}\footnote{We once saw a score in G-minor where the signature consisted of two flats (B and E) plus -one sharp (F). This is not directly supported by \musixtex.} - - If a \itxem{meter} indication is to be posted, it should be -specified using the macro - - \keyindex{generalmeter}\verb|{|$m$\verb|}%| - - %\check - \noindent where $m$ is the description of the meter indication which should -appear on each staff. If it is a \ital{fraction} (e.g.~3/4) on should code - - \verb|\generalmeter{\meterfrac{3}{4}}%| - -\noindent or, in a simpler way (if the numbers are less than 10): - - \verb|\generalmeter{\meterfrac34}%| - -You can suppress the beginning vertical rule with saying \keyindex{nostartrule} -and restore the default with \keyindex{startrule} after that. - - Special denotations can be used, such as \keyindex{meterC}, +one sharp (F). This is not directly supported by \musixtex.}. To override +the common key signature for instrument $n$, use +\keyindex{setsign}\verb|{|$n$\verb|}{|$s$\verb|}|. Note that differing +key signatures cannot be assigned to different staves of the same instrument. + +A common \itxem{meter} for all staves can be specified by + \keyindex{generalmeter}\verb|{|$m$\verb|}|,\label{generalmeter} +where $m$ describes the appearance of the meter indication, and can take several +different forms. If the meter is a \ital{fraction} (e.g.~3/4) the command is + \verb|\generalmeter{|\keyindex{meterfrac}\verb|{3}{4}}|. +Other possible tokens~$m$ are \keyindex{meterC}, \keyindex{allabreve}, \keyindex{reverseC}, \keyindex{reverseallabreve} and -\keyindex{meterplus}. +\keyindex{meterplus}. These are illustrated in the following example: %\check \begin{music} @@ -1083,10 +1176,10 @@ and restore the default with \keyindex{startrule} after that. \generalmeter\reverseallabreve\changecontext \NOTEs\zwq g\enotes \generalmeter{\meterfrac{3\meterplus2\meterplus3}8}\changecontext -\Notes\Tqbu ceg\Dqbl jg\Tqbu gec\enotes +\Notes\Tqbu ceg\Dqbl jg\Tqbu gec\enotes\setemptybar \endpiece \end{music} -which was coded as: +\noindent which was coded as: \begin{quote}\begin{verbatim} \generalmeter\meterC \nostartrule @@ -1099,82 +1192,69 @@ which was coded as: \generalmeter\reverseallabreve\changecontext \NOTEs\zwq g\enotes \generalmeter{\meterfrac{3\meterplus2\meterplus3}8}\changecontext -\Notes\Tqbu ceg\Dqbl jg\Tqbu gec\enotes +\Notes\Tqbu ceg\Dqbl jg\Tqbu gec\enotes\setemptybar \endpiece \end{verbatim}\end{quote} - However, not all music scores have the same meter in each staff. -Especially, some staffs may have \ital{ternary} meters while others have -\ital{binary}. This can be specified by using the \keyindex{generalmeter} macro -to set the meter for most of the scores and overriding it by: - -\keyindex{setmeter}\verb|2{{\meterfrac{12}8}\allabreve}%| - - \noindent which sets the meter to 12/8 for the first (lower) -staff, and \ital{alla breve} for the second staff of the instrument number 2. - -Sometimes it might be useful to insert additional space before the meter is -written. This is possible by assigning a value to \keyindex{meterskip} in the -preamble. It is reset to zero after first meter indication. - \subsection{Instrument names} If you want the \itxem{name of the instrument}s -(or the \itxem{name of the voice}s) to be displayed in front of their -respective staffs at the beginning, you may code: -\keyindex{setname} $n$\verb|{|\ital{name of the instrument}\verb|}%| - - %\check - \noindent where $n$ is the number of the instrument -considered. In this case, you should also adjust the \keyindex{parindent} -dimension so that the long name of an instrument does not spill too far into -the left margin. - \subsection{Polyphonic songs} -Except staffs of a unique instrument tied together with a big brace, staffs -normally begin on the left with a thin vertical rule. However, it is usual to -tie all human voices together with a left heavy and right thin vertical rule. - - \subsubsection{Case of only one choir} - In the usual case where you have only one choir, this can be specified -by: +To override the common meter for any staff, use +\keyindex{setmeter}\verb|{|$n$\verb|}{{|$m_1$\verb|}{|$m_2$\verb|}{|$m_3$\verb|}{|$m_4$\verb|}}|.\linebreak +This works just like \verb|\setclef|. For example, +\verb|setmeter3{{\meterfrac{12}8}\allabreve}| +sets the meter to 12/8 for the first staff of the third instrument, and +\ital{alla breve} for the second staff. + +To insert extra space before the meter is +written, use \keyindex{meterskip}$d$ where $d$ is any hard \TeX\ +%dimension\footnote{{\Bslash\tt meterskip} is not a macro but a +dimension\footnote{{\tt\Bslash meterskip} is not a macro but a +dimension register. Whatever follows it +must be a \TeX\ dimension and {\it it must not be enclosed in braces}.}. +The assignment must occur outside \verb|\startpiece...\endpiece| and will be +reset to zero after first meter is posted. + +To set an \itxem{instrument name}, use +\keyindex{setname}\verb|{|$n$\verb|}{|\ital{name of the instrument}\verb|}|. +This will place the name in the space to the left of the +first staff or group of staves for instrument $n$. To specify the amount of space +available, use \verb|\parindent|$d$ where $d$ is any hard \TeX\ dimension. + \subsection{Groupings of instruments}\label{curlybrackets} +By default, all staves in a system will be joined +at the left by a thin, vertical rule. In addition, if an instrument has more than +one staff, they will be joined by a big, curly brace. Now we introduce a way +to delineate groups of instruments or choirs with a square brace containing two parallel +vertical rules, the left one thick and the right one thin. This is commonly used +to group together the voices in a choir. + +If there is only one choir, this can be done with \begin{quote} -\keyindex{songtop}\verb|{|$n$\verb|}|\\ +\keyindex{songtop}\onen\\ \keyindex{songbottom}\verb|{|$m$\verb|}| \end{quote} \noindent where $m$ and $n$ are the instrument numbers of the first -and last choral voices. Example is shown in \ref{song}. +and last voices. An example is shown in section~\ref{song}. - No heavy square brace is produced when the bottom instrument has a number -greater than the top one. This feature can be used to remove choir heavy -braces between distinct parts of the same score. - - \subsubsection{Case of several choirs or several orchestras} - Your may divide your instruments into up to three groups linked together with -a left square brace. Each of these groups is specified with: +If there is more than one choir to be set off with +square braces, each one can be specified with \begin{quote} \keyindex{grouptop}\verb|{|$g$\verb|}{|$n$\verb|}|\\ \keyindex{groupbottom}\verb|{|$g$\verb|}{|$m$\verb|}| \end{quote} \noindent where $m$ and $n$ are the instrument numbers of the first -and last choral voices of group number $g$. \musixtex{} allows up to three -groups, numbered from 1 to 3, plus the ``zero'' group consisting of the voices -or instruments which belong to no declared group. \verb|\songtop| is equivalent -to \verb|\grouptop 1| and \verb|\songbottom| is equivalent to +and last voices of group number $g$. \musixtex{} allows up to three +groups, numbered from 1 to 3. The command \verb|\songtop| is equivalent +to \verb|\grouptop 1|; \verb|\songbottom| is equivalent to \verb|\groupbottom 1|. - With {\tt musixadd.tex}, this number of groups is raised to four. - - This grouping feature can also be used to collect not only voices but also -instruments with one or several staffs. In that case the normal brace is -shifted left of the square havy brace. +With \ttxem{musixadd.tex}, the allowable number of groups is increased to four. - \subsection{Removing square choir braces} +If any of the instruments grouped this way has more than one staff, the +heavy curly brace will be shifted to the left of the square brace. - Previously defined square choir braces can be removed by stating a -\verb|\songtop| less than the \verb|\songbottom|. The same applies to -\verb|\grouptop| and \verb|\groupbottom| of the same group number. +Previously defined square braces can be removed by declaring +\verb|\songtop| less than \verb|\songbottom|. The same applies to +\verb|\grouptop| and \verb|\groupbottom| for the same group number. - \subsection{Specifying all brackets together} - - Alternatively, you can use the following command for specifying all -required brackets together: + An alternate command allows you to specify all choirs at once: \begin{quote} \keyindex{akkoladen}\verb|{{|{\it lower\_1\/}\verb|}{|{\it upper\_1\/}% \verb|}{|{\it lower\_2\/}\verb|}{|{\it upper\_2\/}\verb|}{|% @@ -1183,63 +1263,135 @@ required brackets together: \noindent where {\it lower\_n\/} and {\it upper\_n\/} are instrument numbers that denote the span of bracket number $n$. For setting fewer than three brackets, just omit all unneeded -\verb|{|{\it lower\_n\/}\verb|}{|{\it upper\_n\/}\verb|}|~pairs; -\verb|\akkoladen{}| cancels all brackets. - -Example: -\begin{quote} - \verb|\instrumentnumber{5} \akkoladen{{1}{2}{3}{5}}| -\end{quote} -yields:\par\nopagebreak +\verb|{|{\it lower\_n\/}\verb|}{|{\it upper\_n\/}\verb|}|~pairs. +For example, + \verb|\instrumentnumber{5}\akkoladen{{1}{2}{3}{5}}| +\noindent yields the first example below, with five single-staff instruments +divided into two groups. + +The second example has 2 instruments, the first (lower) with two staves and the +second with three. Each instrument is set off by default with a curly bracket. + +If for some reason you want more than one \ital{instrument}\ grouped +within a curly +bracket, then you can use the extension file +%\ttxem{curly.tex}\footnote{Submitted +\href{http://icking-music-archive.org/software/musixtex/add-ons/curly.tex} +{\underline{\ttxem{curly.tex}}}\footnote{Submitted +by Mthimkhulu {\sc Molekwa} to the mutex list}, which defines the command + + \keyindex{curlybrackets}\verb|{{|{\it lower\_1\/}\verb|}{|{\it upper\_1\/}% + \verb|}{|{\it lower\_2\/}\verb|}{|{\it upper\_2\/}\verb|}...| + +\noindent to be used as illustrated in the third example below.\\ +\begin{minipage}[t]{50mm} \begin{music} % just to avoid wasting space ... - \smallmusicsize\setsize1\smallvalue\setsize2\smallvalue - \setsize3\smallvalue\setsize4\smallvalue\setsize5\smallvalue + \sepbarrules + \smallmusicsize +\setsize1\smallvalue\setsize2\smallvalue +\setsize3\smallvalue\setsize4\smallvalue\setsize5\smallvalue \instrumentnumber{5} \akkoladen{{1}{2}{3}{5}} - \startextract \hardspace{2cm}\zendextract + \startextract\notes\en\bar\notes\en\zendextract \end{music} -which was coded as: - +\begin{quote}is coded as: +\begin{verbatim} + \sepbarrules + \smallmusicsize + \setsize1\smallvalue + \setsize2\smallvalue + \setsize3\smallvalue + \setsize4\smallvalue + \setsize5\smallvalue + \instrumentnumber{5} + \akkoladen{{1}{2}{3}{5}} + \startextract + \notes\en\bar\notes\en + \zendextract +\end{verbatim}\end{quote} +\end{minipage} +\begin{minipage}[t]{50mm} +\begin{music} + \sepbarrules + \smallmusicsize +\setsize1\smallvalue\setsize2\smallvalue + \instrumentnumber2 \setstaffs12\setstaffs23 + \startextract \notes\en\bar\notes\en\zendextract +\end{music} +\begin{quote}is coded as: \begin{verbatim} - \smallmusicsize\setsize1\smallvalue\setsize2\smallvalue + \sepbarrules + \smallmusicsize + \setsize1\smallvalue + \setsize2\smallvalue + \instrumentnumber2 + \setstaffs12 + \setstaffs23 + \startextract + \notes\en\bar\notes\en + \zendextract +\end{verbatim}\end{quote} +\end{minipage} +\begin{minipage}[t]{50mm} +\begin{music} + \input curly + \sepbarrules + \smallmusicsize + \setsize1\smallvalue\setsize2\smallvalue + \smallmusicsize \setsize3\smallvalue\setsize4\smallvalue\setsize5\smallvalue - \instrumentnumber{5} \akkoladen{{1}{2}{3}{5}} - \startextract \hardspace{2cm}\zendextract -\end{verbatim} + \instrumentnumber5 %\setstaffs12\setstaffs23 + \curlybrackets{1235} + \startextract \notes\en\bar\notes\en\zendextract +\end{music} +\begin{quote}is coded as: +\begin{verbatim} + \input curly + \sepbarrules + \instrumentnumber5 + \smallmusicsize + \setsize1\smallvalue + \setsize2\smallvalue + \setsize3\smallvalue + \setsize4\smallvalue + \setsize5\smallvalue + \curlybrackets{1235} + \startextract + \notes\en\bar\notes\en + \zendextract +\end{verbatim}\end{quote} +\end{minipage} - %\check -\section{Starting your masterpiece} - \subsection{Typing the first system} -Just code -\keyindex{startmuflex} - -\noindent which opens the \ital{jobname}{\tt .mx1} during \TeX ing the first -time your masterpiece. All informations are now written to it. During pass 3 -it will be open for read in and all computed values are used to set the -lines\footnote{The files must be closed before leaving \TeX, preferably before + +\section{Preparing to enter notes} + \subsection{After the setup, what next?} + +The command \keyindex{startmuflex} initiates the serious business of +\musixtex. On the first \TeX\ pass it +opens \ital{jobname}{\tt .mx1} for writing bar-by-bar tabulations of all +hard and scalable space to be fed to \verb|musixflx| on the second pass. +\verb|musixflx| generates \ital{jobname}{\tt .mx2} which defines the +number of bars in each system and the factors relating scalable space +to hard space in each system. On the third pass both files will be opened +and read to define the final spacing. These files should be closed before +leaving \TeX, preferably before \keyindex{bye} or \keyindex{end}, with \keyindex{endmuflex}. Normally \TeX\ -closes all open files on his own when terminating the program, but it is still -wiser to do this explicitly.}. +closes all open files on its own when terminating the program, but it is still +cleaner to do this explicitly. -\begin{remark} do not worry too much if you forget \verb|\startmuflex|; in -most cases --- since version T.39 --- the \verb|\startpiece| command will do -it, if necessary. Conversely, only the first \verb|\startmuflex| is effective, -the others are inefficient... for safety. \end{remark} +After \verb|\startmuflex|, the command \keyindex{startpiece} will initiate +the first system, containing all instruments you have previously defined. +The indentation will be \keyindex{parindent}, so if you want nonzero +indentation, this register should be set to the desired hard dimension +before issuing \verb|\startpiece|. -Then code + \subsection{Horizontal spacing commands}\label{newspacings} +\subsubsection{Basic note spacing} +\musixtex\ provides a set of macros each of which defines a particular +increment of scalable spacing. The default set is tabulated below: - %\check -\keyindex{startpiece} - -\noindent which will initiate (with indentation \keyindex{parindent}) -the first set of staffs for all instruments you have previously defined. But -that is not sufficient to begin writing notes and silences. In fact, you -must also choose the spacing of the notes. - \subsection{Easy selecting note spacing}\label{newspacings} -Therefore, we preferred to provide the composer/typesetter with a -set of macros (incidentally, this can be adjusted): \begin{center} \tinynotesize \renewcommand{\arraystretch}{1.5}% I hate LaTeX @@ -1252,89 +1404,138 @@ set of macros (incidentally, this can be adjusted): \keyindex{notes}\verb| ... & ... & ... \enotes|&\verb=2=\keyindex{elemskip} &\ccu1&16th\\ \keyindex{notesp}\verb| ... & ... & ... \enotes|&\verb=2.5\elemskip= - &\pt1\ccu1&16th pointed, 8th triplet\\ + &\pt1\ccu1&dotted 16th, 8th triplet\\ \keyindex{Notes}\verb| ... & ... & ... \enotes|&\verb=3\elemskip= &\cu1&8th\\ \keyindex{Notesp}\verb| ... & ... & ... \enotes|&\verb=3.5\elemskip= - &\cup1&8th pointed, 4th triplet\\ + &\cup1&dotted 8th, quarter triplet\\ \keyindex{NOtes}\verb| ... & ... & ... \enotes|&\verb=4\elemskip= - &\qu1&4th\\ + &\qu1&quarter\\ \keyindex{NOtesp}\verb| ... & ... & ... \enotes|&\verb=4.5\elemskip= - &\qup1&4th pointed, 2th triplet\\ + &\qup1&dotted quarter, half triplet\\ \keyindex{NOTes}\verb| ... & ... & ... \enotes|&\verb=5\elemskip= - &\hu1&2th\\ + &\hu1&half\\ \keyindex{NOTesp}\verb| ... & ... & ... \enotes|&\verb=5.5\elemskip= - &\hup1&2th pointed\\ + &\hup1&dotted half\\ \keyindex{NOTEs}\verb| ... & ... & ... \enotes|&\verb=6\elemskip= - &\wh1&1th\\\hline + &\wh1&whole\\\hline \end{tabular}\end{center} -\noindent -If you don't like them, define your own using e.g.: - -\verb|\def\NOtes{\vnotes5.34\elemskip}| - - %\check -\noindent -which means, when you use this \keyindex{NOtes} definition, that all -\ital{spacing} notes and commands, results a spacing of 5.34 $\times$ -\keyindex{elemskip}. -The size of the spatial unit (\keyindex{elemskip}) can be freely -adjusted (it shows only effect outside \verb|\startpiece...\endpiece|). - - In practice, the choice of the macro \verb|\notes|, \verb|\Notes|, -\verb|\NOtes|, etc., to initiate of column of notes sets an -internal dimension register, named \keyindex{noteskip} to the given multiple -of \keyindex{elemskip}. Thus, each \itxem{spacing note} (\keyindex{qu}, -\keyindex{qb}, \keyindex{hl}, etc.) will be followed by a spacing of -\keyindex{noteskip}. Then, the advantage of the definition of \verb|\elemskip| -is that, whenever it is changed, all subsequent \verb|\noteskip|s -will be updated proportionally so that a simple change of \verb|\elemskip| -can expand or shrink all consecutive note spacings as a whole. - -\medskip -{\bf All said above counts only for first pass.} - -\medskip If the arthmetic progression of note spacings does not meet your -wishes, your may force a geometric progression, where {\Bslash Notes} is -$\sqrt{2}$ times wider as {\Bslash notes}, {\Bslash NOtes} is $\sqrt{2}$ -times wider as {\Bslash Notes}, etc. In that case, {\Bslash Notesp} is -approximately $\sqrt{\sqrt{2}}=1.189$ times wider as {\Bslash Notes} and so -on. The geometric progression if forced by the command -\keyindex{geometricskipscale}, and the original arithmetic progression is +\smallskip + +\noindent What each of these macros actually does is to set an +internal dimension register \keyindex{noteskip} to the given multiple +of the fundamental spacing unit \keyindex{elemskip} +(which has dimensions of length, usually given in points). +Normally, every \itxem{spacing note} (e.g., +\keyindex{qu}, +\keyindex{qb}, \keyindex{hl}) will then be followed by a spacing of +width \keyindex{noteskip}. By selecting a particular note spacing macro +from the above table, the typesetter can thus control the relative spacing +between notes. + +The actual spacing will therefore be determined by the value of +\verb|\elemskip|. On the first pass, \TeX\ will set a default value for +\verb|\elemskip| based on the declared music size, or the user can +set it to any hard dimension he chooses. However, the value on the +first pass doesn't matter as much as you might think (more about that later). +On the second pass, +\verb|musixflx| determines where the system breaks will come, +and then computes the final value of \verb|\elemskip| for each system. + +If the arthmetic progression of note spacings in the above table does not +meet your wishes, you may activate an alternate set with +the command \keyindex{geometricskipscale}. As implied by the name, this +is a geometric progression, where {\Bslash Notes} is +$\sqrt{2}$ times wider than {\Bslash notes}, {\Bslash NOtes} is $\sqrt{2}$ +times wider than {\Bslash Notes}, and so forth. +Then the factors in the middle column +of the above table will be replaced by the sequence +2.00, 2.38, 2.83, 3.36, 4.00, 4.76, 5.66, 6.72, and 8.00. Two additional +macros, \verb|\NOTEsp| and \verb|\NOTES|, will be defined corresponding to +factors 9.52 and 11.32. The original arithmetic progression can be restored by \keyindex{arithmeticskipscale}. - Inside the pair \verb|\notes...\enotes| you may freely change the value of -\verb|\noteskip| (not \verb|\elemskip|) provided you keep it scalable in the -normal situation\footnote{But: provided you keep it \ital{not scalable} if -you use the {\Bslash hardnotes} or {\Bslash hardlyrics} features (see -\ref{lyrics}).}. \verb|\noteskip| can be changed with a command like - -\verb|\noteskip=2.4\noteskip| - -\noindent which obviously keeps it scalable, or by means of - -\keyindex{multnoteskip}\verb|{2.4}| - -\noindent which performs the same multiplication in a smarter way. You can -also force all \verb|\noteskip|s to be re-scaled by a factor of 3.1415 using - -\keyindex{scale}\verb|{2.4}| - -\noindent or \verb|\def|\keyindex{scalenoteskip}\verb|{2.4}| which is more -dangerous and not advises although compatible with \musictex. - -\medskip - -To fill the music line (system) without glue, the values of \verb|\elemskip|, -\verb|\afterruleskip| and \verb|\beforeruleskip| are adjusted from the -external program {\tt musixflx}\index{musixflx@{\tt musixflx}}. So what -spacing you really get, depends on the internal line-breaking routine. - -Spacings for advanced \musixtex'ers: a `normal' bar (slightly~!) magnified: -\medskip +If neither of the predefined progressions satisfies you, you may define +your own, using the more general macro \verb|\vnotes| in the same manner +that \musixtex\ uses it for the predefined progressions. So for example +\verb|\def\NOtes{\vnotes5.34\elemskip}| will redefine \verb|\NOtes| in +the obvious way, and the extension to the other spacing macros should +likewise be obvious. + +In addition, inside any pair \verb|\notes...\enotes| there are two +equivalent ways to +locally redefine \verb|\noteskip| to another scalable value, namely by +issuing a command like +\verb|\noteskip=2.4\noteskip| or \keyindex{multnoteskip}\verb|{2.4}|, which +have the expected effect until the notes group is terminated or +\verb|\noteskip| is further redefined. + +Finally, by issuing a command like +\keyindex{scale}\verb|{2.4}| outside any notes group, you can scale all subsequent +\verb|\noteskip|s by any desired factor. + +These facilities may be useful, for example, +to control spacing when there are three equal duration notes in one staff against two + in another. + +%\subsubsection{\Bslash{\tt elemskip}, \Bslash{\tt beforeruleskip} and +%\Bslash{\tt afterruleskip}} +% +% avr wants to call these "commands", but das doesn't. +%\subsubsection{Commands {\Bslash\texttt{elemskip}}, +%{\Bslash\texttt{beforeruleskip}} +%and {\Bslash\texttt{afterruleskip}}} +\subsubsection{{\Bslash\texttt{elemskip}}, +{\Bslash\texttt{beforeruleskip}} +and {\Bslash\texttt{afterruleskip}}} + +We've just seen how \verb|\elemskip| is used to scale the spacings between notes. +There are two other spacing units that share some behavior with \verb|\elemskip|. +\verb|\beforeruleskip| is the horizontal space that is automatically inserted +\ital{before} every bar line, while \verb|\afterruleskip| goes \ital{after} +every bar line. (In +practice \verb|\beforeruleskip| is almost aways set to \verb|0pt| because there +will typically already be a space of \verb|1\noteskip| before every barline.) +On the first pass, just as with \verb|\elemskip|, \musixtex\ assigns them default +values according to the following table: + +%\begin{quote}\begin{tabular}{lrrr}\hline +%\ital{using}&\keyindex{elemskip}&\keyindex{afterruleskip} +% &\keyindex{beforeruleskip}\\\hline +%\keyindex{normalmusicsize}&6pt&8pt&0pt\\ +%\keyindex{smallmusicsize}&4.8pt&6pt&0pt\\\hline +%\end{tabular}\end{quote} + +\begin{center}\begin{tabular}{lrrr}\hline +\ital{using}&\keyindex{elemskip}&\keyindex{afterruleskip} + &\keyindex{beforeruleskip}\\\hline +\keyindex{normalmusicsize}&6pt&8pt&0pt\\ +\keyindex{smallmusicsize}&4.8pt&6pt&0pt\\\hline +\end{tabular}\end{center} +\noindent In the second pass, \verb|musixflx| assigns new values to each +of these dimensions, a different set for each line or system. It does this +in such a way that available scalable horizontal space in each system is +exactly filled up. + +The values that are assigned to these dimensions on the first pass, whether by +default or explicitly by the user or in some combination, only matter insofar +as their relative sizes. That's why we earlier stated that the first-pass value +of \verb|\elemskip| didn't matter as much as you might think. For both music sizes +in the table above, it appears that by default \verb|\afterruleskip| is +\verb|1.3333\elemskip|\footnote{Editor's note: It is a mystery why the authors +%of \musixtex\ didn't simply define \Bslash{\tt beforeruleskip} and \Bslash{\tt afterruleskip} as +%specific multiples of \Bslash{\tt elemskip}}. +of \musixtex\ didn't simply define \Bslash\texttt{beforeruleskip} and \Bslash\texttt{afterruleskip} as +specific multiples of \Bslash\texttt{elemskip}}. + +Note that if you do want to change any of these +values, you have to do so \ital{after} setting the +music size and before \verb|\startpiece|. + +Here is an example that illustrates the various dimensions under discussion:\\ %\check -\begin{music} +\begin{music}\nostartrule \afterruleskip7pt \beforeruleskip2pt \parindent0pt @@ -1361,7 +1562,7 @@ Spacings for advanced \musixtex'ers: a `normal' bar (slightly~!) magnified: \znotes\en \zchar{16}{\hbox to\beforeruleskip{\downbracefill}}% \zchar{19}{\hbox to\beforeruleskip{\hss d\hss}}% -\endpiece +\setemptybar\endpiece \end{music} \begin{quote}\begin{tabular}{l@{~$\rightarrow$~}l} a&\keyindex{afterruleskip}\\ @@ -1370,227 +1571,236 @@ c&\keyindex{NOtes}\verb| = \vnotes 4\elemskip|\\ d&\keyindex{beforeruleskip}\\ e&\keyindex{elemskip} \end{tabular}\end{quote} -As default the values are set up as follows: -\begin{quote}\begin{tabular}{lrrr}\hline -\ital{using}&\keyindex{elemskip}&\keyindex{afterruleskip} - &\keyindex{beforeruleskip}\\\hline -\keyindex{normalmusicsize}&6pt&8pt&0pt\\ -\keyindex{smallmusicsize}&4.8pt&6pt&0pt\\\hline -\end{tabular}\end{quote} -\begin{quote} -If you want to change upper values, you have to do that behind -\verb|\normalmusicsize| or \verb|\smallmusicsize| and before -\verb|\startpiece|. -\end{quote} + +\subsection{Moving from one staff or instrument to another} + \label{movingtostaffs} + +When entering notes inside \verb|\notes ... \enotes|, the usual way to suspend +input for one instrument and start the next (higher) is with the character +``\verb|&|''\index{"&@{\tt\char'046}}. If the instrument has more than one +staff, to switch to the next (higher) one you can use the character +``\verb+|+''\index{"|@{\tt\char'174}}. + +There are some alternate navigation commands that may be useful in + special situations. Due to ``catcode +problems'' (see section~\ref{catcodeprobs}) it may sometimes be necessary +to use the more explicit commands +\keyindex{nextinstrument} and \keyindex{nextstaff}, which have the same +meanings as ``\verb|&|'' and ``\verb+|+'' respectively. To switch to the previous +(next lower) staff of the same instrument, use \keyindex{prevstaff}. This might +be useful if a beam starts in a higher staff than where it ends. More +generally, to switch to an arbitrary instrument $n$, use +\keyindex{selectinstrument}\onen, and to switch to an arbitrary staff $n$ +of the current instrument, use \keyindex{selectstaff}\verb|{|$n$\verb|}|. In the +latter case if $n$ exceeds the number of staves defined for the instrument, you +will receive an error message. You can enter part of a successive voice on +\ital{same} staff by using \verb|\selectstaff{|$n$\verb|}| with $n$ for +the \ital{current} staff. + %\check -\section{Note pitch specification} - Note pitches are usually specified by letters ranging from \verb|a| to -\verb|z| for those which are usually written under the G-clef (\verb|a| -corresponds to the $A$ of nominal frequency 222.5~Hz; the \ital{G} of the -G-clef is denoted \verb|g|). Lower pitch notes are specified using upper -case letters ranging from \verb|A| to \verb|N| (the \ital{F} of the F-clef -is denoted \verb|M|, and \verb|F| is one octave below). - - If necessary, a numeric symbol can be used to place a symbol -independently of the active clef, which has the drawback not to be -transposable. - - Besides, notes below \verb|A| (i.e. the $A$ of nominal frequency 55.625~Hz), -namely the lowest octave of the modern pianos, can only be coded using the -transposition features (see below: \ital{transposition} and -\ital{octaviation}) or in absolute vertical position using numbers. - \section{Writing notes} -There are two major kinds of note macros: \begin{enumerate} \item those -which terminate a note/chord stem and are followed by a horizontal spacing of -value \keyindex{noteskip}, - \item those which initiate or extend a note/chord stem and do not cause -horizontal spacing. -\end{enumerate} - The first kind is used to type a melody, the second kind is used to -type chords. - \subsection{Single spacing notes} -\begin{quote}\begin{description} - \item[\keyindex{breve}~$p$ :]breve note (\hbox to 8pt{\zbreve1\hss}) at pitch $p$. - \item[\keyindex{longa}~$p$ :]longa note - (\hbox to8pt{\zlonga1\hss}) at pitch $p$. - \item[\keyindex{longaa}~$p$ :]same as \verb|\longa|, with an ``automatic'' -stem up or down. - \item[\keyindex{zmaxima}~$p$ :]maxima note - (\hbox to16pt{\zmaxima1\hss}) at pitch $p$. - \item[\keyindex{wq}~$p$ :]arbitrary duration note (also used as alternate -representation of \ital{breve} note) - (\hbox to8pt{\zwq1\hss}) at pitch $p$. - \item[\keyindex{wqq}~$p$ :]long arbitrary duration note (also used as alternate -representation of \ital{longa} note) - (\hbox to8pt{\zwqq1\hss}) at pitch $p$. - \item[\keyindex{wh}~$p$ :]whole note at pitch $p$. - \item[\keyindex{hu}~$p$ :]half note at pitch $p$ with stem up. - \item[\keyindex{hl}~$p$ :]half note at pitch $p$ with stem down. - \item[\keyindex{ha}~$p$ :]half note at pitch $p$ with automatic -stem\footnote{This -means all stems belonging to notes below the third line are stemmed up, -the other down, they work with every clef, but only for single notes.} choice. - \item[\keyindex{qu}~$p$ :]quarter note at pitch $p$ with stem up. - \item[\keyindex{ql}~$p$ :]quarter note at pitch $p$ with stem down. - \item[\keyindex{qa}~$p$ :]quarter note at pitch $p$ with ``automatic'' stem. - \item[\keyindex{cu}~$p$ :]eighth note\footnote{The {\Bslash c} of this macro - name is taken from the French word ``croche'' which is by the way one - half of the english ``crotchet''; {\Bslash cc...}, {\Bslash ccc...} - are standing for ``double croche'', ``triple croche'', etc.} - at pitch $p$ with stem up. - \item[\keyindex{cl}~$p$ :]eighth note at pitch $p$ with stem down. - \item[\keyindex{ca}~$p$ :]eighth note at pitch $p$ with ``automatic'' stem. - \item[\keyindex{ccu}~$p$ :]sixteenth note at pitch $p$ with stem up. - \item[\keyindex{ccl}~$p$ :]sixteenth note at pitch $p$ with stem down. - \item[\keyindex{cca}~$p$ :]sixteenth note at pitch $p$ with ``automatic'' stem. - \item[\keyindex{cccu}~$p$ :]32-th note at pitch $p$ with stem up. - \item[\keyindex{cccl}~$p$ :]32-th note at pitch $p$ with stem down. - \item[\keyindex{ccca}~$p$ :]32-th note at pitch $p$ with ``automatic'' stem. - \item[\keyindex{ccccu}~$p$ :]64-th note at pitch $p$ with stem up. - \item[\keyindex{ccccl}~$p$ :]64-th note at pitch $p$ with stem down. - \item[\keyindex{ccccl}~$p$ :]64-th note at pitch $p$ with ``automatic'' stem. +\section{Note pitch specification}\label{pitchspec} +Note pitches can be specified either by letters or numbers. If no transposition +or octaviation is in effect, letters ranging +from \verb|a| to \verb|z| represent notes starting with the A below +middle C. Upper case letters from \verb|A| to \verb|N| represent pitches +two octaves lower than their lower case counterparts. Any letter can be used in +any clef, but some users may +prefer to use the lower case letters in treble clef, and the upper case ones +in bass clef. + +Alternatively, a one- or two-digit, positive or negative integer can always be used. +The number represents +the vertical position on the staff, with \verb|0| for the lowest line and +\verb|1| for the space right above, \ital{regardless of the clef}. +Unlike with letters, the +associated pitch will depend on the clef, and notes entered this way are +immune to transposition and octaviation. + +Notes lower than \verb|A| and higher than \verb|z| can be entered, with +either numbers as just described, or with octaviation as will be explained in +section~\ref{octaviation}. + + \section{Writing notes}\label{autostemdirections} +There are two major kinds of note macros, those that include a space (of +length \keyindex{noteskip}) after +the printed symbol, and those that don't cause any space. A single-line melody would be +written using the first type. All notes of a chord except the last would +use the second. + +Another distinction concerns stemmed notes. Some macros explicitly set the +stem direction with either ``\verb|u|'' or ``\verb|l|'' contained in the name of +the macro. On the other hand, an ``\verb|a|'' in the macro's name usually signifies +\ital{automatic} stem direction selection. In this case notes below the middle +staff line will get up stems, otherwise down. + + \subsection{Normal (unbeamed) spacing notes}\label{NormalNotes} +In the following, \verb|{|$p$\verb|}| signifies a pitch specification as +described in sections~\ref{pitchspec} and \ref{octaviation}. However it +is understood that if the pitch is a single character, the brackets are +not neecessary, provided that if it is a letter, a space separates the +macro from the letter. + + +\begin{quote}\begin{description}\setlength{\itemsep}{0ex} + \item[\keyindex{breve}{\tt\char123}$p${\tt\char125} :]breve (\hbox to 8pt{\zbreve1\hss}) . + \item[\keyindex{longa}{\tt\char123}$p${\tt\char125} :]longa (\hbox to8pt{\zlonga1\hss}) . + \item[\keyindex{longaa}{\tt\char123}$p${\tt\char125} :]longa with automatic stem +direction\footnote{Editor's note: Evidently there is no explicit up-stemmed longa} . + \item[\keyindex{zmaxima}{\tt\char123}$p${\tt\char125} :]maxima(\hbox to16pt{\zmaxima1\hss}) . + \item[\keyindex{wq}{\tt\char123}$p${\tt\char125} :]arbitrary duration note (\hbox to8pt{\zwq1\hss}) +(also used as alternate representation of a \ital{breve}). + \item[\keyindex{wqq}{\tt\char123}$p${\tt\char125} :]long arbitrary duration note +(\hbox to8pt{\zwqq1\hss}) (also used as alternate +representation of a \ital{longa}). + \item[\keyindex{wh}{\tt\char123}$p${\tt\char125} :]whole note. + \item[\keyindex{hu}{\tt\char123}$p${\tt\char125} :]half note with stem up. + \item[\keyindex{hl}{\tt\char123}$p${\tt\char125} :]half note with stem down. + \item[\keyindex{ha}{\tt\char123}$p${\tt\char125} :]half note with automatic stem direction + \item[\keyindex{qu}{\tt\char123}$p${\tt\char125} :]quarter note with stem up. + \item[\keyindex{ql}{\tt\char123}$p${\tt\char125} :]quarter note with stem down. + \item[\keyindex{qa}{\tt\char123}$p${\tt\char125} :]quarter note with automatic stem direction. + \item[\keyindex{cu}{\tt\char123}$p${\tt\char125} :]eighth note\footnote{The ``{\tt c}'' +within this macro name stands for the equivalent British term ``crotchet''} with stem up. + \item[\keyindex{cl}{\tt\char123}$p${\tt\char125} :]eighth note with stem down. + \item[\keyindex{ca}{\tt\char123}$p${\tt\char125} :]eighth note with automatic stem direction. + \item[\keyindex{ccu}{\tt\char123}$p${\tt\char125} :]sixteenth note with stem up. + \item[\keyindex{ccl}{\tt\char123}$p${\tt\char125} :]sixteenth note with stem down. + \item[\keyindex{cca}{\tt\char123}$p${\tt\char125} :]sixteenth note with automatic stem direction. + \item[\keyindex{cccu}{\tt\char123}$p${\tt\char125} :]32nd note with stem up. + \item[\keyindex{cccl}{\tt\char123}$p${\tt\char125} :]32nd note with stem down. + \item[\keyindex{ccca}{\tt\char123}$p${\tt\char125} :]32nd note with automatic stem direction. + \item[\keyindex{ccccu}{\tt\char123}$p${\tt\char125} :]64nd note with stem up. + \item[\keyindex{ccccl}{\tt\char123}$p${\tt\char125} :]64nd note with stem down. + \item[\keyindex{ccccl}{\tt\char123}$p${\tt\char125} :]64nd note with automatic stem direction. \end{description}\end{quote} - As an example, the sequence: + As an example, the sequence %\check -\begin{music} +\begin{music}\nostartrule \startextract \Notes\cu c\cl j\enotes\bar \Notes\ccu c\ccl j\enotes\bar \Notes\cccu c\cccl j\enotes\bar \Notes\ccccu c\ccccl j\enotes -\endextract +\zendextract \end{music} - \noindent was coded as: + \noindent was coded as \begin{quote}\begin{verbatim} \Notes\cu c\cl j\enotes\bar \Notes\ccu c\ccl j\enotes\bar \Notes\cccu c\cccl j\enotes\bar \Notes\ccccu c\ccccl j\enotes \end{verbatim}\end{quote} - If these notes are preceded by \ital{non-spacing} notes (i.e. -macros \keyindex{zq} or \keyindex{zh}) their stem is extended up or down so -as to join all notes into a single chord. - \subsection{Non-spacing (chord) notes} -\begin{quote}\begin{description} - \item[\keyindex{zq}~$p$ :]quarter (or shorter) note head at pitch $p$ with no -spacing after. - \item[\keyindex{zh}~$p$ :]half note head at pitch $p$ with no spacing after. -\end{description}\end{quote} - It must be pointed out that the pitch $p$ of these notes is -memorized so that the stem of the further spacing note will join them into -a chord. This stem top and bottom pitch is \ital{reset} at each spacing -note. - - \begin{remark} Notes of duration longer than whole notes are -always non-spacing. This saves one useless definition, since these notes are -always longer than other simultaneous ones. If needed they can be followed by -\keyindex{sk} to force spacing. -\end{remark} - \subsection{Shifted non-spacing (chord) heads} These symbols are used mainly -in chords where \ital{second} intervals are present. It is the -responsibility of the typist to choose which heads should be shifted left or -right. - -\begin{quote}\begin{description} -\item[\keyindex{rw}~$p$ :]whole note head shifted right by one note -width ($\approx$ 6pt), no spacing. -\item[\keyindex{lw}~$p$ :]whole note head shifted left by one note -width ($\approx$ 6pt), no spacing. -\item[\keyindex{rh}~$p$ :]half note head shifted right by one note -width ($\approx$ 6pt), no spacing. -\item[\keyindex{lh}~$p$ :]half note head shifted left by one note -width ($\approx$ 6pt), no spacing. -\item[\keyindex{rq}~$p$ :]quarter note head shifted right by one note -width ($\approx$ 6pt), no spacing. -\item[\keyindex{lq}~$p$ :]quarter note head shifted left by -one note width ($\approx$ 6pt), no spacing. + \subsection{Non-spacing note heads} +These macros are used to create chords. Any number of them can be entered +in sequence, followed by a spacing note. All of the note heads will be +joined to the spacing note and the stem length will automatically be adjusted +as needed. + +\begin{quote}\begin{description}\setlength{\itemsep}{0ex} + \item[\keyindex{zq}{\tt\char123}$p${\tt\char125} :]quarter (or shorter) note head. + \item[\keyindex{zh}{\tt\char123}$p${\tt\char125} :]half note head. +\end{description}\end{quote} +%das ??? +% \begin{remark} Notes of duration longer than whole notes are +%always non-spacing. This saves one useless definition, since these notes are +%always longer than other simultaneous ones. If needed they can be followed by +%\keyindex{sk} to force spacing. +%\end{remark} + + \subsection{Shifted non-spacing note heads} +These symbols are used mainly +in chords containing an interval of a \ital{second}. They provide note +heads shifted either to the left or right of the default position by +the width of one note head. + +\begin{quote}\begin{description}\setlength{\itemsep}{0ex} +\item[\keyindex{rw}{\tt\char123}$p${\tt\char125} :]whole note head shifted right. +\item[\keyindex{lw}{\tt\char123}$p${\tt\char125} :]whole note head shifted left. +\item[\keyindex{rh}{\tt\char123}$p${\tt\char125} :]half note head shifted right\footnote{Some may not +have realized that half and whole note heads have different shapes}. +\item[\keyindex{lh}{\tt\char123}$p${\tt\char125} :]half note head shifted left. +\item[\keyindex{rq}{\tt\char123}$p${\tt\char125} :]quarter note head shifted right. +\item[\keyindex{lq}{\tt\char123}$p${\tt\char125} :]quarter note head shifted left. \end{description}\end{quote} - %\check - Except that they are shifted left of right, these macros act like -\verb|\z...| macros for stem building. - \subsection{Single non-spacing notes} -\begin{quote}\begin{description} - \item[\keyindex{zhu} :]half note with stem up but no spacing. It acts like -\verb|\hu| for stem building. - \item[\keyindex{zhl} :]half note with stem down but no spacing. It acts like -\keyindex{hl} for stem building. - \item[\keyindex{zqu} :]quarter note with stem up but no spacing. It acts like -\verb|\qu| for stem building. - \item[\keyindex{zql} :]quarter note with stem down but no spacing. It acts -like \verb|\ql| for stem building. - \item[\keyindex{zcu}, \keyindex{zccu}, \keyindex{zcccu}, \keyindex{zccccu} -:]eighth, ..., note with stem up but no spacing. It acts like -\verb|\cu| for stem building. - \item[\keyindex{zcl}, \keyindex{zccl}, \keyindex{zcccl}, \keyindex{zccccl} -:]eighth, ..., note with stem down but no spacing. It acts -like \verb|\cl| for stem building. - \item[\keyindex{zqb} :]note belonging to a beam but no spacing. - \item[\keyindex{rhu}, \keyindex{rhl}, \keyindex{rqu}, \keyindex{rql}, + \subsection{Non-spacing notes} +These macros provide normal notes, with stems if applicable, but without any +following space. +\begin{quote}\begin{description}\setlength{\itemsep}{0ex} + \item[\keyindex{zhu}\pitchp~:]half note with stem up but no spacing. It acts like +\verb|\hu| for chord building, i.e., it will join together any immediately +preceding non-spacing note heads. + \item[\keyindex{zhl}\pitchp~:]half note with stem down but no spacing. It acts like +\keyindex{hl} for chord building. + \item[\keyindex{zqu}\pitchp~:]quarter note with stem up but no spacing. It acts like +\verb|\qu| for chord building. + \item[\keyindex{zql}\pitchp~:]quarter note with stem down but no spacing. It acts +like \verb|\ql| for chord building. + \item[\keyindex{zcu}\pitchp, \keyindex{zccu}, \keyindex{zcccu}, \keyindex{zccccu} +:]eighth, ..., note with stem up but no spacing. They act like +\verb|\cu| for chord building. + \item[\keyindex{zcl}\pitchp, \keyindex{zccl}, \keyindex{zcccl}, \keyindex{zccccl} +:]eighth, ..., note with stem down but no spacing. They act +like \verb|\cl| for chord building. + \item[\keyindex{zqb}\pitchp~:]note belonging to a beam but no spacing. (DAS: put this later!) + \item[\keyindex{rhu}\pitchp, \keyindex{rhl}, \keyindex{rqu}, \keyindex{rql}, \keyindex{rcu}, \keyindex{rcl} :] \verb|\rhu| acts like \verb|\zhu|, - but the note is shifted one note width on the right, other analogous. - \item[\keyindex{lhu}, \keyindex{lhl}, \keyindex{lqu}, \keyindex{lql}, + but the note is shifted one note width to the right; others analogous. + \item[\keyindex{lhu}\pitchp, \keyindex{lhl}, \keyindex{lqu}, \keyindex{lql}, \keyindex{lcu}, \keyindex{lcl} :]same - as above, but the whole of the note is shifted one note width on the left. - \item[\keyindex{zw}~$p$ :]whole note at pitch $p$ with no spacing after. - \item[\keyindex{zwq}~$p$ :]arbitrary duration note - (\hbox to8pt{\zwq1\hss}) at pitch $p$ with no spacing after. - \item[\keyindex{zbreve}~$p$ :]breve note - (\hbox to8pt{\zbreve1\hss}) at pitch $p$ with no spacing after. - \item[\keyindex{zlonga}~$p$ :]longa note - (\hbox to8pt{\zlonga1\hss}) at pitch $p$ with no spacing after. - \item[\keyindex{zmaxima}~$p$ :]maxima note - (\hbox to16pt{\zmaxima1\hss}) at pitch $p$ with no spacing after. + as above, but the note is shifted one note width to the left. + \item[\keyindex{zw}\pitchp~:]whole note with no following space. + \item[\keyindex{zwq}\pitchp~:]arbitrary duration note + (\hbox to8pt{\zwq1\hss}) with no following space. + \item[\keyindex{zbreve}\pitchp~:]breve + (\hbox to8pt{\zbreve1\hss}) with no following space. + \item[\keyindex{zlonga}\pitchp~:]longa + (\hbox to8pt{\zlonga1\hss}) with no following space. + \item[\keyindex{zmaxima}\pitchp~:]maxima + (\hbox to16pt{\zmaxima1\hss}) with no following space. \end{description}\end{quote} %\check +\subsection{Spacing note heads} -\subsection{Single (spacing) stemless notes} +Although not needed in normal music scores, these may be useful in +very special cases. - Although not standard in real music scores, one may need to have stemless -quarter and half note heads posted in the same way as whole notes. This can be -done with the following commands: - -\begin{quote}\begin{description} -\item[\keyindex{nh}~$p$ :]half note head at pitch $p$. -\item[\keyindex{nq}~$p$ :]quarter note head at pitch $p$. +\begin{quote}\begin{description}\setlength{\itemsep}{0ex} +\item[\keyindex{nh}{\tt\char123}$p${\tt\char125} :]spacing half note head. +\item[\keyindex{nq}{\tt\char123}$p${\tt\char125} :]spacing quarter note head. \end{description}\end{quote} -\medskip As an example, the sequence: +\noindent As an example, the sequence -\begin{music} +\begin{music}\nostartrule \startextract \notes\nq c\nq j\enotes\barre \Notes\nh c\nh j\enotes\barre \notes\nq {cdef}\enotes -\endextract +\zendextract \end{music} -\medskip \noindent was coded as: +\noindent was coded as -%\check \begin{quote}\begin{verbatim} \notes\nq c\nq j\enotes\barre \Notes\nh c\nh j\enotes\barre \notes\nq {cdef}\enotes \end{verbatim}\end{quote} - In case of special need, non spacing variants have been provided, namely +Non spacing variants are also provided, namely \keyindex{znh} and \keyindex{znq}. +% DAS: why??? + \subsection{Dotted notes}\label{dots} - \subsection{Pointed notes} -One simple way of doing consists in putting \keyindex{pt -$p$} to get a \ital{dot} after the normal note head at pitch $p$. Thus a -quarter note with one point can be coded \verb|\pt h\qu h|, with two points -as \keyindex{ppt}\verb|\qu h| and with three points as -\keyindex{pppt}\verb|\qu h|. - - A simpler way of doing consists in using compact macros, namely: -\keyindex{whp}, \keyindex{whpp}, +By appending one or two \verb|p|'s (for ``pointed'') to the name, many of the +macros just introduced provide one or two dots after the notehead: +\keyindex{whp}\pitchp, \keyindex{whpp}, \keyindex{zwp}, \keyindex{zwpp}, \keyindex{hup}, \keyindex{hupp}, \keyindex{hlp}, \keyindex{hlpp}, @@ -1601,188 +1811,250 @@ as \keyindex{ppt}\verb|\qu h| and with three points as \keyindex{cup}, \keyindex{cupp}, \keyindex{clp}, \keyindex{clpp}, \keyindex{qbp} and \keyindex{qbpp}. -Where all \verb|\z...p| are useful in chords. - - You may also introduce pointed notes, especially in groups by coding -a \ital{period} before (not after) the letter representing the pitch: -\verb|\qu{.a.^b.c}| which is equivalent to: -\begin{quote}\begin{verbatim} -\pt{a}\qu{a}\pt{b}\sh{b}\qu{b}\pt{c}\qu{c} -\end{verbatim}\end{quote} -Finally, pointed notes can also be produced without spacing after, using +Naturally, the ones that start with ``\verb|z|'' are used in chords. +The dot(s) will be raised if the note is on a line. + +A more explicit way uses one of the macros \keyindex{pt}{\tt\char123}$p${\tt\char125}, +\keyindex{ppt}, or \keyindex{pppt} right +before any note macro to place one to three dots after the normal note +head at pitch $p$. Again they will be raised if on a line. In fact this is the only +way to get a triple-dotted note. +For example a +quarter note with one dot could be coded \verb|\pt h\qu h|, with two dots +as \keyindex{ppt}\verb| h\qu h| and with three as +\keyindex{pppt}\verb| h\qu h|. + +Yet another method for posting a dot is to insert a \ital{period} before +the letter representing the pitch. Thus \verb|\qu{.a}| is equivalent to +either \verb|\pt a\qu a| or \verb|\qup a| . This may be useful when +using \ital{collective coding}, which will be discussed in the next +section. + +Non-spacing dotted notes can be produced using \keyindex{zhup}, \keyindex{zhlp}, \keyindex{zqup}, \keyindex{zqlp}, \keyindex{zcup}, \keyindex{zclp}, \keyindex{zqbp}, -and the same with two \verb|p|'s for -double-pointed notes, like \keyindex{zhupp}, \keyindex{zhlpp}, -\keyindex{zqupp}, \keyindex{zqlpp}, -\keyindex{zcupp}, \keyindex{zclpp} and \keyindex{zqbpp}. - -If two voices share one staff, the points of the lower voice are lowered, -if the note is on a note line. Therefore you can use \keyindex{lpt}~$p$ and -\keyindex{lppt}~$p$. +and similarly with two \verb|p|'s for +double-dotted notes. + +As a matter of style, if two voices share one staff, the dots in +the lower voice should be lowered if the note is on a line. For +this you can use \keyindex{lpt}{\tt\char123}$p${\tt\char125} and +\keyindex{lppt}{\tt\char123}$p${\tt\char125}. + +\subsection{Sequences of equally spaced notes; collective coding} +\label{CollectiveCoding} + +It isn't necessary to write a separate macro +sequence \verb|\notes...\enotes| for every individual column of notes. +Rather, a single such macro can contain all the notes in all staves +over an extended horizontal range, as long as all spacings are equal or +multiples of a unique value of \keyindex{noteskip}. +The notes in each staff could be entered one after another as normal +spacing notes as already described in section~\ref{NormalNotes}. Then +each spacing note will cause the insertion point to advance horizontally by the +operative value of \verb|\noteskip| defined by the choice of +\verb|\notes|, \verb|\Notes|, \verb|\NOtes|, etc. Of course in such sequences +non-spacing chord notes can be entered right before their associated +spacing note. If you need to skip forward by one \verb|\noteskip|, for +example after a quarter note when there are two eighth notes in +another staff, you can use \keyindex{sk}. + +If there are only spacing notes in such a sequence, a further +simplification is available, called \ital{collective coding}. For instance +\verb|\qu{cdefghij}| writes the C major scale in quarters with +up stems. Similarly \verb|\cl{abcdef^gh}| writes the +\ital{A-minor} scale in non-beamed eighths. (Here ``\verb|^|'' represents +a sharp). If necessary a void can be inserted in a collective coding sequence +by using~\verb|*|\index{*}. Not all note generating macros can be +used to perform collective coding, but most of them can. - %\check \section{Beams} - - Beams are not automatically handled, but they must be declared explicitely, -\ital{before} the first spacing note involving them is coded. Two kinds of -macros are provided: - -\begin{enumerate} - - \item fixed slope beams have an arbitrary slope chosen by the user in -the range -45\% to +45\% (by multiples of 5\%); - - \item semi-automatic beams have their slope computed knowing the number -of \keyindex{noteskip} over which they are supposed to extend, and knowing the -initial and final pitch of the notes they are supposed to link. -\end{enumerate} - %\check - \subsection{Fixed slope beams} - \subsubsection{Beam initiation} -\begin{quote}\begin{description} - \item[\keyindex{ibu}~$nps$ :]initiates an \ital{upper beam} 3 horizontal -line spacings above the pitch $p$~; $n$ is its reference number, which must be -in the range [0-5] ([0-8] if \verb|musixadd| file has been \verb|\input|); -$s$ is the slope of the beam. -\end{description}\end{quote} - $s$ is an integer in the range [-9,9]. -$s=1$ means a slope of 5\%, $s=9$ means a slope of 45\%, -$s=-3$ means a slope of -15\%, etc. -With usual spacings a slope of 2 or 3 is fit for ascending scales. A slope of -6 to 9 is fit for ascending arpeggios. - -\begin{quote}\begin{description} - - \item[\keyindex{ibl}~$nps$ :]initiates a \ital{lower beam} 3 horizontal line -spacings below the pitch $p$. Other parameters as above. - - \item[\keyindex{ibbu}~$nps$ :]initiates a \ital{double upper beam} (same -parameter meaning). - \item[\keyindex{ibbl}~$nps$ :]initiates a \ital{double lower beam} (same -parameter meaning). - \item[\keyindex{ibbbu}~$nps$ :]initiates a \ital{triple upper beam} (same -parameter meaning). - \item[\keyindex{ibbbl}~$nps$ :]initiates a \ital{triple lower beam} (same -parameter meaning). - \item[\keyindex{ibbbbu}~$nps$ :]initiates a \ital{quadruple upper beam} (same -parameter meaning). - \item[\keyindex{ibbbbl}~$nps$ :]initiates a \ital{quadruple lower beam} (same -parameter meaning). +\subsection{Starting a beam} + +Each beam must be declared with a macro issued before the first spacing +note under the beam is coded. Two distinct kinds of macros are provided +for this. The first kind initiates a ``fixed-slope'' beam, with an arbitrary +slope and starting height chosen by the user, while the second kind, a +``semi-automatic'' beam, +\ital{computes}~the slope and, in addition, adjusts the starting height in some +cases. + +\def\nps{{\tt\char123}$n${\tt\char125}\pitchp{\tt\char123}$s${\tt\char125}} + +The basic form of the macros for starting fixed-slope beams is exemplified +by the one for a single upper beam, \keyindex{ibu}\nps. Here +$n$ is the reference number of the beam, $p$ the starting ``pitch'', and +$s$ the slope. The reference number is assigned by the user. By default it must be +in the range [0-5], but the maximum can be increased to 8 or 11 respectively +if \verb|musixadd| or \verb|musixmad| has been \verb|\input|. The beam number is +needed because more than one beam may be open at a time, and it +tells \musixtex\ to which beam subsequent beamed notes and other beam specification +commands are assigned. The ``pitch'' parameter is a pitch that is three +staff spaces \ital{below} the bottom of the heavy connecting bar (\ital{above} +the bar for a lower beam); in many (but not all) +cases it should be input as the actual pitch of the first note. The slope $s$ +is an integer in the range [-9,9]. When multipled +by 5\%~it gives the actual slope of the heavy bar. Typically a slope of 2 or 3 +is OK for ascending scales, and 6 to 9 for ascending arpeggios. + +The full set of fixed-slope beam initiation macros is as follows: +\begin{quote}\begin{description}\setlength{\itemsep}{0ex} + + \item[\keyindex{ibu}\nps~:]initiates an \ital{upper beam}. + \item[\keyindex{ibl}\nps~:]initiates a \ital{lower beam}. + \item[\keyindex{ibbu}\nps~:]initiates a \ital{double upper beam}. + \item[\keyindex{ibbl}\nps~:]initiates a \ital{double lower beam}. + \item[\keyindex{ibbbu}\nps~:]initiates a \ital{triple upper beam}. + \item[\keyindex{ibbbl}\nps~:]initiates a \ital{triple lower beam}. + \item[\keyindex{ibbbbu}\nps~:]initiates a \ital{quadruple upper beam}. + \item[\keyindex{ibbbbl}\nps~:]initiates a \ital{quadruple lower beam}. \end{description}\end{quote} -Notes belonging to beams are coded in the form \keyindex{qb}~$np$ where $n$ is -the beam number and $p$ the pitch of the note head. \musixtex\ adjusts the -length of the note stem to link the bottom of the chord to a beam. - - \subsubsection{Beam termination} - Beam termination is also not automatic. The termination of a given -beam must be explicitely declared \ital{before} coding the last spacing note -connected to that beam. -\begin{quote}\begin{description} - \item[\keyindex{tbu}~$n$ :]terminates upper beam number $n$ at current -position. \item[\keyindex{tbl}~$n$ :]terminates lower beam number $n$ at -current position. -\end{description}\end{quote} -\keyindex{tbu} and \keyindex{tbl} terminate beams of any -multiplicity. Therefore 32-th notes hanging on a triple beam are initiated by -\keyindex{ibbbu}~$nps$ and terminated by \keyindex{tbu}~$n$. - - Since beams usualy finish with a \verb|\qb| to link the last note, shorter -macros have been provided: - - \begin{itemize} - - \item \keyindex{tqb} $np$ is equivalent to \verb|\tbl| $n$\verb|\qb| $np$ - - \item \keyindex{tqh} $np$ is equivalent to \verb|\tbu| $n$\verb|\qb| $np$ - - \item \keyindex{ztqb} $np$ is equivalent to \verb|\tbl| $n$\verb|\zqb| $np$ -(no spacing after) +A semi-automatic beam is initiated with a command that has \ital{four} +parameters, the beam number, the first and last pitches, and the total +horizontal extent in +\verb|\noteskip|s, based on the value in effect at the start. For example, +if you input \verb|\Ibu2gj3|, \musixtex\ will understand that you want to +build an upper beam (beam number 2) horizontally extending \verb|3\noteskip|, +the first note of which is a \verb|g| and the last note a \verb|j|. +Knowing these parameters it will choose the highest slope number that +corresponds to a slope not more than $(\hbox{\tt j}-\hbox{\tt +g})/(3\keyindex{noteskip})$. The nominal height of the heavy bar is offset the same as +for fixed-slope beams. However, if there is no sufficiently steep beam +slope available, then \musixtex\ will raise (or lower) the starting point. - \item \keyindex{ztqh} $np$ is equivalent to \verb|\tbu| $n$\verb|\zqb| $np$ -(no spacing after) + Eight such macros are available: \keyindex{Ibu}, \keyindex{Ibbu}, +\keyindex{Ibbbu}, \keyindex{Ibbbbu}, \keyindex{Ibl}, \keyindex{Ibbl}, +\keyindex{Ibbbl} and \keyindex{Ibbbbl}. - \end{itemize} +\subsection{Adding notes to a beam} - \subsubsection{Beams of increasing multiplicity} - It is also possible to code beams whose multiplicity is not the same -at the beginning. The multiplicity can be increased at any position. For -instance, \keyindex{nbbu}~$n$ which sets the multiplicity of upper beam -number $n$ to 2 starting at the current position, \keyindex{nbbbu}~$n$ sets -its multiplicity to 3 and \keyindex{nbbbbu}~$n$ sets its multiplicity to 4. -\keyindex{nbbl}~$n$ \dots -\keyindex{nbbbbl}~$n$ perform the same functions for lower beams. +Spacing notes belonging to beams are coded with the macro +\keyindex{qb}\verb|{|$n$\verb|}|\pitchp~where $n$ is +the beam number and $p$ the pitch of the note. \musixtex\ adjusts the +length of the note stem to link to the beam. +Chord notes within a beam are entered before the main note with the +non-spacing macro \keyindex{zqb}\verb|{|$n$\verb|}|\pitchp. Again, +the stem length will be automatically adjusted as required. - Note that the difference between upper and lower beams does not -mainly consist in the beam being above or below the note heads; rather, it -specifies whether the abscissa of the beginning and the end of this beam is -aligned on the right (upper beam) or on the left (lower) beam. Thus, the -sequence: +There are also special macros for semi-automatic beams with +two, three, or four notes: +\keyindex{Dqbu}, \keyindex{Dqbl}, \keyindex{Dqbbu}, \keyindex{Dqbbl}, +\keyindex{Tqbu}, \keyindex{Tqbl}, \keyindex{Tqbbu}, \keyindex{Tqbbl}, +\keyindex{Qqbu}, \keyindex{Qqbl}, \keyindex{Qqbbu} and \keyindex{Qqbbl}. + %\check +For example \verb|\Dqbu gh| is equivalent to \verb|Iqbu1gh\qb1 g\tbu1\qb1 h|, +except that the special macros don't require a beam number. +Their use is illustrated in the following example: -\begin{music} -\startextract -\Notes\ibu0h0\qb0e\nbbu0\qb0e\nbbbu0\qb0e\nbbbbu0\qb0e\tbu0\qb0e\enotes -\endextract +\medskip +\begin{music}\nostartrule +\parindent0pt\startpiece +\Notes\Dqbu gh\Dqbl jh\en +\notes\Dqbbu fg\Dqbbl hk\en\bar +\Notes\Tqbu ghi\Tqbl mmj\en +\notes\Tqbbu fgj\Tqbbl njh\en\bar +\Notes\Qqbu ghjh\Qqbl jifh\en +\notes\Qqbbu fgge\Qqbbl jhgi\en\setemptybar\endpiece \end{music} -\noindent has been coded as +\noindent This was coded as\footnote{Editor's note: Most music +typesetting books recommend beam slopes that are \ital{less} than +the slope between the starting and ending note; these macros cannot +provide that.}: \begin{quote}\begin{verbatim} -\Notes\ibu0h0\qb0e\nbbu0\qb0e\nbbbu0\qb0e\nbbbbu0\qb0e\tbu0\qb0e\enotes +\Notes\Dqbu gh\Dqbl jh\en +\notes\Dqbbu fg\Dqbbl hk\en\bar +\Notes\Tqbu ghi\Tqbl mmj\en +\notes\Tqbbu fgj\Tqbbl njh\en\bar +\Notes\Qqbu ghjh\Qqbl jifh\en +\notes\Qqbbu fgge\Qqbbl jhgi\en \end{verbatim}\end{quote} + %\check - It is quite possible to terminate with \keyindex{tbu} a beam initiated -with \keyindex{ibl}. This may give: + \subsection{Ending a beam} + The termination of a given +beam must be declared \ital{before} coding the last spacing note +connected to that beam. The macros for doing that are +\keyindex{tbu}\verb|{|$n$\verb|}| for an upper beam and +\keyindex{tbl}\verb|{|$n$\verb|}| for a lower one. These work for +beams of any +multiplicity. So for example an upper triple beam with +32nd notes is initiated by +\verb|\ibbbu|\nps\ but terminated by \verb|\tbu{|$n$\verb|}|. + + Since beams usually finish with a \verb|\qb| for the last note, the +following shortcut macros have been provided: + +\def\enpee{{\tt{\char123$n$\char125\char123$p$\char125}}} +\begin{quote}\begin{description}\setlength{\itemsep}{0ex} + \item \keyindex{tqb}\enpee~is equivalent to \verb|\tbl{|$n$\verb|}\qb|\enpee~. + \item \keyindex{tqh}\enpee~is equivalent to \verb|\tbu{|$n$\verb|}\qb|\enpee~. + \item \keyindex{ztqb}\enpee~is equivalent to \verb|\tbl{|$n$\verb|}\zqb|\enpee~, +i.e., no spacing afterwards. + \item \keyindex{ztqh}\enpee~is equivalent to \verb|\tbu{|$n$\verb|}\zqb|\enpee~, +i.e., no spacing afterwards. +\end{description}\end{quote} -\begin{music} +\subsection{Changing multiplicity after the beam starts} +Multiplicity (the number of heavy bars) can be increased at any position after +the beam starts. The commands are \keyindex{nbbu}\onen~which increases the multiplicity of +upper beam +number $n$ to two starting at the current position, \keyindex{nbbbu}\onen~to +increase it to three, and \keyindex{nbbbbu}\onen~to increase to four. The +commands \keyindex{nbbl}\onen\dots\keyindex{nbbbbl}\onen~do the same +for lower beams. +Thus, the +sequence + +\begin{music}\nostartrule \startextract -\Notes\ibl0p0\qb0p\nbbl0\qb0p\nbbbl0\qb0p\tbu0\qb0e\enotes -\endextract +\Notes\ibu0h0\qb0e\nbbu0\qb0e\nbbbu0\qb0e\nbbbbu0\qb0e\tbu0\qb0e\enotes +\zendextract \end{music} -\noindent which has been coded as +\noindent has been coded as \begin{quote}\begin{verbatim} -\Notes\ibl0p0\qb0p\nbbl0\qb0p\nbbbl0\qb0p\tbu0\qb0e\enotes +\Notes\ibu0h0\qb0e\nbbu0\qb0e\nbbbu0\qb0e\nbbbbu0\qb0e\tbu0\qb0e\enotes \end{verbatim}\end{quote} - \subsubsection{Beams of decreasing multiplicity} - Partial termination of beams is also possible, by using \keyindex{tbbu} -or \keyindex{tbbl}~: these macros terminate the current beam except that of -order 1 (eighths). \keyindex{tbbbu} or \keyindex{tbbbl} terminate the current -beam except those of order 1 and 2, etc. -\begin{music} +To decrease multiplicity to one, use \keyindex{tbbu}\onen~or +\keyindex{tbbl}\onen. To decrease to two or three use +\keyindex{tbbbu}\onen\dots\keyindex{tbbbbl}\onen. For example, + +\begin{music}\nostartrule \startextract \Notes\ibbbu0h0\qb0e\tbbbu0\qb0e\tbbu0\qb0e\tbu0\qb0e\enotes -\endextract +\zendextract \end{music} \noindent has been coded as \begin{quote}\begin{verbatim} \startextract \Notes\ibbbu0h0\qb0e\tbbbu0\qb0e\tbbu0\qb0e\tbu0\qb0e\enotes -\endextract +\zendextract \end{verbatim}\end{quote} -The macros \keyindex{tbbu} and \keyindex{tbbl} and higher order -may also be invoked when only -a single beam is active. Then, a second beam or third or ... -(upper or lower according -the initiating procedure) is opened \ital{one note width before -the current position, and closed immediately}. Thus the following sequences +Although at first it may seem counterintuitive, +the macros \keyindex{tbbu} and \keyindex{tbbl} and higher order counterparts +may also be invoked when the multiplicity is one. In this case +a second, third, or fourth heavy bar will be opened one note width \ital{before} +the current stem, and immediately closed \ital{at} the stem. +Thus the following sequences -\begin{music} +\begin{music}\nostartrule \let\extractline\hbox \hbox to \hsize{% \hss \startextract \Notes\ibu0e0\qbp0e\tbbu0\tbu0\qb0e\en - \endextract + \zendextract \hss\hss \startextract \Notes\ibu0e0\qbpp0e\tbbbu0\tbbu0\tbu0\qb0e\en - \endextract + \zendextract \hss} \end{music} -\noindent are coded: +\noindent are coded \hspace*{\fill}\begin{minipage}{.4\textwidth}\begin{verbatim} \Notes\ibu0e0\qbp0e% \tbbu0\tbu0\qb0e\en @@ -1792,34 +2064,42 @@ the current position, and closed immediately}. Thus the following sequences \tbbbu0\tbbu0\tbu0\qb0e\en \end{verbatim}\end{minipage}\hfill -\noindent The same behaviour occurs in the case of \keyindex{tbbbu}, -\keyindex{tbbbl}, \keyindex{tbbbbu} and \keyindex{tbbbbl}. - The symmetrical pattern is also possible. For example: +\medskip -\begin{music} + +The symmetrical pattern is also possible. For example: + +\begin{music}\nostartrule \startextract \Notes\ibbl0j0\roff{\tbbl0}\qb0j\tbl0\qbp0j\enotes -\endextract +\zendextract \end{music} \noindent has been coded as: \begin{quote}\begin{verbatim} \Notes\ibbl0j0\roff{\tbbl0}\qb0j\tbl0\qbp0j\enotes \end{verbatim}\end{quote} - \begin{remark} these codings may seem complicated. In fact, -it is the responsibility of the user to define macros which perform the most -common sequences in his masterpiece. For example, one could define sets of -four sixteenths by the macro: - -\verb|\def\qqh#1#2#3#4#5{\ibbl0#2#1\qb#2\qb#3\qb#4\tbl0\qb#5}| - -\noindent where the first argument is the slope and the other four -arguments are the pitches of the four consecutive sixteenths wanted. -\end{remark} - - -\noindent A slightly more complicated example is: -\begin{music} +The constructions in this section illustrate some general +properties of +beam initiation and termination commands: To mate properly with the +expected stems, the starting position of the heavy bar(s) (for initiation commands) +and the ending position (for terminations) will be at +different horizontal locations +depending on whether they are for upper or lower beams: The position for +upper beam commands is one note head width to the right of those for +lower beams. In fact this is the \ital{only} difference between upper +and lower termination commands. Both types will operate on whatever kind of +beam is open and has the same beam number. + +Recognizing this principle, in the example just given it was necessary to +shift the double termination to the right by one note head width, using the +command \keyindex{roff}\verb|{|\dots\verb|}|, which does precisely that for +any \musixtex\ macro. + +Here is another, slightly more complicated example which also uses +\verb|\roff|: + +\begin{music}\nostartrule \startextract \notes\ibbbu0e0\roff{\tbbbu0}\qb0f\en \notesp\tbbu0\qbp0f\en @@ -1827,7 +2107,7 @@ arguments are the pitches of the four consecutive sixteenths wanted. \notesp\ibbu0f0\roff{\tbbu0}\qbp0f\en \Notes\qb0f\en \notes\tbbbu0\tbbu0\tbu0\qb0f\en -\endextract +\zendextract \end{music} \noindent has been coded as: \begin{quote}\begin{verbatim} @@ -1838,59 +2118,86 @@ arguments are the pitches of the four consecutive sixteenths wanted. \Notes\qb0f\en \notes\tbbbu0\tbbu0\tbu0\qb0f\en \end{verbatim}\end{quote} + +\noindent Note that the first beam opening command used a pitch one step +below the note. This makes the stem shorter by one pitch unit, since it is always +the \ital{closest} heavy bar that is separated from the given pitch by +three staff spaces. + +We close this section with an example showing how to +open a beam of one sense, increase multiplicity, then terminate with +opposite sense: + +\begin{music}\nostartrule +\startextract +\Notes\ibl0p0\qb0p\nbbl0\qb0p\nbbbl0\qb0p\tbu0\qb0e\enotes +\zendextract +\end{music} +\noindent which has been coded as +\begin{quote}\begin{verbatim} +\Notes\ibl0p0\qb0p\nbbl0\qb0p\nbbbl0\qb0p\tbu0\qb0e\enotes +\end{verbatim}\end{quote} + + \begin{remark} One may save some typing by defining personalized +\TeX\ macros to +perform any oft repeated sequence of commands. For example, +one could define a set of four sixteenths by the macro: + +\verb|\def\qqh#1#2#3#4#5{\ibbl0#2#1\qb#2\qb#3\qb#4\tbl0\qb#5}| + +\noindent where the first argument is the slope and the other four +arguments are the pitches of the four successive sixteenths. +\end{remark} + %\check - \subsection{Repeated pattern beams}\index{repeated patterns} -Note heads hanging on beams are not necessarily quarter (or higher order) -note heads. It is possible to hang half note heads on beams -using \keyindex{hb} macro, e.g.: + \subsection{Shorthand beam notations for repeated notes}\index{repeated patterns} +Sometimes you may want to indicate repeated short notes with open note heads joined +by a beam. Here's an example of how to do that +using the \keyindex{hb} macro: -\begin{music} +\begin{music}\nostartrule \startextract \Notes\ibbl0j0\hb0j\tbl0\hb0j\enotes \Notes\ibbu0g0\hb0g\tbu0\hb0g\enotes -\endextract +\zendextract \end{music} -\noindent has been coded as: +\noindent which has been coded as: \begin{quote}\begin{verbatim} \Notes\ibbl0j0\hb0j\tbl0\hb0j\enotes \Notes\ibbu0g0\hb0g\tbu0\hb0g\enotes \end{verbatim}\end{quote} +It is also possible to dispense with the stems: -It is also possible to write - -\begin{music} +\begin{music}\nostartrule \startextract \Notes\ibbl0j3\wh j\tbl0\wh l\enotes \Notes\ibbu0g3\wh g\tbu0\wh i\enotes -\endextract +\zendextract \end{music} -\noindent which was coded as: +\noindent which was coded as \begin{quote}\begin{verbatim} \Notes\ibbl0j3\wh j\tbl0\wh l\enotes \Notes\ibbu0g3\wh g\tbu0\wh i\enotes \end{verbatim}\end{quote} -\noindent However, a better look could be obtained in a more sophisticated -way\footnote{You are suggested to make your own macro if you have to type many -of these, or better: use a pre-compiler.}: +\noindent A different look could be obtained as follows: -\begin{music} +\begin{music}\nostartrule \startextract \Notes\loff{\zw j}\ibbl0j3\sk\tbl0\wh l\enotes \Notes\ibbu0g3\wh g\tbu0\roff{\wh i}\enotes\qspace -\endextract +\zendextract \end{music} -\noindent which was simply coded as: +\noindent which was coded as: \begin{quote}\begin{verbatim} \Notes\loff{\zw j}\ibbl0j3\sk\tbl0\wh l\enotes \Notes\ibbu0g3\wh g\tbu0\roff{\wh i}\enotes\qspace \end{verbatim}\end{quote} - Single repeated notes can also be made --- in a much more sophisticated -way\footnote{But you can write your own macro, thinking of using -{\tt\char92transpose} to lift the oblique beams.}, for example: +Yet another way to indicate repeated notes is given in the +following example: - \begin{music} + \begin{music}\nostartrule \startextract \Notes\ibl0h0\qb0{hhh}\tbl0\qb0h\bsk\bsk\bsk\bsk \ibu0j0\qb0{jjj}\tbu0\qb0j\en @@ -1902,9 +2209,9 @@ way\footnote{But you can write your own macro, thinking of using \ibbu0i0\qb0{jjj}\tbu0\qb0j\en \NOTes\loffset{0.5}{\ibbl0k9}\roffset{0.5}{\tbl0}\zhl h% \loffset{0.5}{\ibbu0f9}\roffset{0.5}{\tbu0}\hu j\en -\endextract +\zendextract \end{music} - \noindent whose coding (due to W. {\sc Icking}) is; + \noindent whose coding (due to Werner {\sc Icking}) is \begin{quote}\begin{verbatim} \Notes\ibl0h0\qb0{hhh}\tbl0\qb0h\bsk\bsk\bsk\bsk @@ -1919,58 +2226,15 @@ way\footnote{But you can write your own macro, thinking of using \loffset{0.5}{\ibbu0f9}\roffset{0.5}{\tbu0}\hu j\en \end{verbatim}\end{quote} - \subsection{Beams across bars} -The usual way most composers wrote their scores was beams inside bars, -at least until the beginning of the XIX-th -century. Unfortunately, later composers ({\sc Brahms}, {\sc Scriabin}, -{\sc Grieg}, etc.) wanted to write beams jumping across bars. -This is possible without any problems. -We give an example from {\sc Brahms}'s Intermezzo op.~118,1 provided by -Miguel {\sc Filgueiras}:\index{Brahms, J.@{\sc Brahms, J.}}\medskip + \subsection{Beams that cross line breaks} -\begin{music} -\interstaff{12} -\setstaffs1{2} -\setclef1\bass -\generalmeter\allabreve -\startextract -\NOtes\qp\nextstaff\isluru0q\zq{q}\ql{j}\enotes -\bar -\nspace -\Notes\ibu0L2\qb0{CEJLcL}% - \nextstaff\roff{\zw{l}}\pt{p}\zh{_p}\pt{i}\hl{_i}\enotes -\Notes\qb0J\itied1a\qb0a\nextstaff\tslur0o\zq{o}\ql{h}\enotes -\bar -\Notes\ttie1\zh{.L.a}\hl{.e}% - \nextstaff\qb0{chj}\tbl0\qb0l\cl{q}\ds\enotes -\NOtes\qp\nextstaff\zq{q}\ql{j}\enotes -\endextract -\end{music} - %\check -\noindent whose coding is: -\begin{verbatim} -\interstaff{13} -\instrumentnumber{1} -\setstaffs1{2} -\setclef1\bass -\generalmeter\allabreve -\startextract -\NOtes\qp\nextstaff\isluru0q\zq{q}\ql{j}\enotes -\bar -\nspace -\Notes\ibu0a1\qb0{CEJLcL}% - \nextstaff\roff{\zw{l}}\pt{p}\zh{_p}\pt{i}\hl{_i}\enotes -\Notes\qb0J\itied1a\qb0a\nextstaff\tslur0o\zq{o}\ql{h}\enotes -\bar -\Notes\ttie1\zh{.L.a}\hl{.e}% - \nextstaff\qb0{chj}\tbl0\qb0l\cl{q}\ds\enotes -\NOtes\qp\nextstaff\zq{q}\ql{j}\enotes -\endextract -\end{verbatim} -Still to be done manually is the cut and prolongation across line breaks, which -can be easily be done with shifting using \keyindex{roff} and/or -\keyindex{loff}, or with insert of a spacing command (here done with -\keyindex{hsk}). We give an example from {\sc Grieg}'s ``Hochzeit auf +Although careful typesetting can usually avoid it, occasionally +a beam may need to cross a line break. If so, it must be manually terminated at +the end of one line and continued in the next. This +can be done by shifting beam terminations and initiations +using \keyindex{roff} and/or +\keyindex{loff}, or by inserting a spacing command such as +\keyindex{hsk}. We give an example from {\sc Grieg}'s ``Hochzeit auf Troldhaugen'':\index{Grieg, E.@{\sc Grieg, E.}}\medskip \begin{music} @@ -2019,89 +2283,187 @@ Troldhaugen'':\index{Grieg, E.@{\sc Grieg, E.}}\medskip \notes\rlap\qs\hsk\tbu0|\rq e\zq d\zqb1N\hsk\tbu1\en \endpiece \end{music} -\noindent where the prolongation was coded as: -\begin{verbatim} +\noindent The prolongation of the two upper beam at the end is +illustrated in the code fragment +\begin{quote}\begin{verbatim} \notes\rlap{\qs}\hsk\tbu0|\rq e\zq d\zqb1N\hsk\tbu1\en -\end{verbatim} +\end{verbatim}\end{quote} %\check - \subsection{Semi-automatic beams} -In order to avoid tedious checks to adjust the slope (and even the starting -pitch) of beams in music with a lot of steep beams, a set of automatically -slope computing has recently been implemented. If -you say \verb|\Ibu2gj3| \musixtex\ will understand that`you want to -build an upper beam (beam number 2) horizontally extending \verb|3\noteskip|, -the first note of which is a \verb|g| and the last note is a \verb|j|. -Knowing these parameters it will choose the highest slope number which -corresponds to a slope not more than $(\hbox{\tt j}-\hbox{\tt -g})/(3\keyindex{noteskip})$. Moreover, if there is no sufficiently steep beam -slope available, then it will raise the starting point. - - Eight such macros are available: \keyindex{Ibu}, \keyindex{Ibbu}, -\keyindex{Ibbbu}, \keyindex{Ibbbbu}, \keyindex{Ibl}, \keyindex{Ibbl}, -\keyindex{Ibbbl} and \keyindex{Ibbbbl}. -Also available are ready definitions for often needed sets of double, -triple and quadruple notes with computed slopes. These are: -\keyindex{Dqbu}, \keyindex{Dqbl}, \keyindex{Dqbbu}, \keyindex{Dqbbl}, -\keyindex{Tqbu}, \keyindex{Tqbl}, \keyindex{Tqbbu}, \keyindex{Tqbbl}, -\keyindex{Qqbu}, \keyindex{Qqbl}, \keyindex{Qqbbu} and \keyindex{Qqbbl}. - %\check + \subsection{Beams with notes on several different staves} +Here's a simple example from {\sc Brahms}'s +Intermezzo op.~118,1 provided by +Miguel {\sc Filgueiras}:\index{Brahms, J.@{\sc Brahms, J.}}\medskip -\medskip \begin{music} -\parindent0pt\startpiece -\Notes\Dqbu gh\Dqbl jh\en -\notes\Dqbbu fg\Dqbbl hk\en\bar -\Notes\Tqbu ghi\Tqbl mmj\en -\notes\Tqbbu fgj\Tqbbl njh\en\bar -\Notes\Qqbu ghjh\Qqbl jifh\en -\notes\Qqbbu fgge\Qqbbl jhgi\en\endpiece +\interstaff{12} +\setstaffs1{2} +\setclef1\bass +\generalmeter\allabreve +\startextract +\NOtes\qp\nextstaff\isluru0q\zq{q}\ql{j}\enotes +\bar +\nspace +\Notes\ibu0L2\qb0{CEJLcL}% + \nextstaff\roff{\zw{l}}\pt{p}\zh{_p}\pt{i}\hl{_i}\enotes +\Notes\qb0J\itied1a\qb0a\nextstaff\tslur0o\zq{o}\ql{h}\enotes +\bar +\Notes\ttie1\zh{.L.a}\hl{.e}% + \nextstaff\qb0{chj}\tbl0\qb0l\cl{q}\ds\enotes +\NOtes\qp\nextstaff\zq{q}\ql{j}\enotes +\endextract \end{music} -\noindent which was simply coded as: -\begin{quote}\begin{verbatim} -\Notes\Dqbu gh\Dqbl jh\en -\notes\Dqbbu fg\Dqbbl hk\en\bar -\Notes\Tqbu ghi\Tqbl mmj\en -\notes\Tqbbu fgj\Tqbbl njh\en\bar -\Notes\Qqbu ghjh\Qqbl jifh\en -\notes\Qqbbu fgge\Qqbbl jhgi\en -\end{verbatim}\end{quote} %\check +\noindent The coding is +\begin{verbatim} +\interstaff{13} +\instrumentnumber{1} +\setstaffs1{2} +\setclef1\bass +\generalmeter\allabreve +\startextract +\NOtes\qp\nextstaff\isluru0q\zq{q}\ql{j}\enotes +\bar +\nspace +\Notes\ibu0a1\qb0{CEJLcL}% + \nextstaff\roff{\zw{l}}\pt{p}\zh{_p}\pt{i}\hl{_i}\enotes +\Notes\qb0J\itied1a\qb0a\nextstaff\tslur0o\zq{o}\ql{h}\enotes +\bar +\Notes\ttie1\zh{.L.a}\hl{.e}% + \nextstaff\qb0{chj}\tbl0\qb0l\cl{q}\ds\enotes +\NOtes\qp\nextstaff\zq{q}\ql{j}\enotes +\endextract +\end{verbatim} + +\noindent (This example also shows that there is no problem in extending +a beam across a bar line.) + +The general features that enable this type of coding as well as the +more complex example to follow are + \begin{itemize}\setlength{\itemsep}{0ex} +% \item Commands like \Bslash{\tt ibu}, \Bslash{\tt ibl}, +%\Bslash{\tt Ibu}, and \Bslash{\tt Ibl} \rm +%define beams whose initial vertical position and slope are fixed +%relative +%to the staff where they begin, but notes in other staves can still be +%connected to them using \Bslash{\tt qb}\onen. +% +% \item The commands \keyindex{tbu}\onen\rm~or \keyindex{tbl}\onen\rm~terminate +%beam $n$ at the specified position, but \musixtex\ remembers the beam +%parameters until a new beam with the same number is defined. +%Therefore, even after beam $n$ has been ``finished'' by a \verb|\tbu| or +%\verb|\tbl| command, commands like \Bslash{\tt qb}\enpee\rm~will still +%generate notes connected to the phantom extension of this beam, +%\ital{provided they are issued in a different staff}. If the command +%\verb|\qb|\enpee\rm~were issued on the same staff as the beam after +% the beam had ended, an error would result. +% + \item Commands like {\Bslash\texttt{ibu}}, {\Bslash\texttt{ibl}}, +{\Bslash\texttt{Ibu}}, and {\Bslash\texttt{Ibl}} +define beams whose initial vertical position and slope are fixed +relative +to the staff where they begin, but notes in other staves can still be +connected to them using {\Bslash\texttt{qb}\onen}. + + \item The commands {\keyindex{tbu}\onen} or {\keyindex{tbl}\onen} +terminate +beam $n$ at the specified position, but \musixtex\ remembers the beam +parameters until a new beam with the same number is defined. +Therefore, even after beam $n$ has been ``finished'' by a \verb|\tbu| or +\verb|\tbl| command, commands like {\Bslash{\tt qb}\enpee} will still +generate notes connected to the phantom extension of this beam, +\ital{provided they are issued in a different staff}. If the command +\verb|\qb|\enpee\rm~were issued on the same staff as the beam after + the beam had ended, an error would result. + + + + + + \item If the beam is initiated on one staff, +notes in a lower staff can be connected to it, but only \ital{after} the beam +has been defined. This may require using the command \keyindex{prevstaff} +to go back one staff, as described in section +\ref{movingtostaffs}. + + \end{itemize} + + Here is an example: + + \begin{music} + \setstaffs13 + \setclef1{6000} + \startextract + \notes + \nextstaff\Ibbbu0Ae7\prevstaff + \qb0{AEH^JLa}\relax\nextstaff + \qb0{******^c}\tqh0e\relax + |\zq{h^jl}\ql o\enotes + \notes + \nextstaff + \Ibbbu0hH6\qb0{hec}\prevstaff + \qb0{***aLJ}\tqh0H\relax\nextstaff + |\zq{h^jl}\ql o\enotes \nspace + \zendextract + \end{music} + + \noindent which is coded as: + + \begin{quote} + \begin{verbatim} + \setstaffs13 + \setclef1{6000} + \startextract + \notes + \nextstaff\Ibbbu0Ae7\prevstaff + \qb0{AEH^JLa}\relax\nextstaff + \qb0{******^c}\tqh0e\relax + |\zq{h^jl}\ql o\enotes + \notes + \nextstaff + \Ibbbu0hH6\qb0{hec}\prevstaff + \qb0{***aLJ}\tqh0H\relax\nextstaff + |\zq{h^jl}\ql o\enotes \nspace + \zendextract + \end{verbatim} + \end{quote} + +In this example we not only see multiple uses of \keyindex{nextstaff} and +\keyindex{prevstaff}, but also the character \verb|*| to make virtual beam notes +(see section \ref{CollectiveCoding}). \section{Rests} - Except that difference that they have no specific pitch, rests are coded in a -very simple way. \subsection{Ordinary rests} - Full bar rests (also called ``pauses'') are coded as -\keyindex{pause}, with a point behind as \keyindex{pausep}; -smaller rests are -\keyindex{hpause} (of duration equal to a \ital{half note}), -with a point behind as \keyindex{hpausep}, -\keyindex{qp} (duration equal to a \ital{quarter note}, - also \keyindex{soupir}), -\keyindex{ds} (duration equal to an \ital{eighth note}), -\keyindex{qs} (duration equal to an \ital{sixteenth note}), -\keyindex{hs} (duration equal to an \ital{thirty second note}), -\keyindex{qqs} (duration equal to an \ital{sixty fourth note}). - - Long rests (lasting several bars) can be coded as \keyindex{PAuse} -and \keyindex{PAUSe}, which respectively yield: - -\begin{music} + A separate macro is defined for each kind of ordinary rest. They cause +a space after the symbol, just like spacing note commands, but they have +no parameters. A whole rest is coded as +\keyindex{pause}, dotted whole rest \keyindex{pausep}, +half rest \keyindex{hpause}, dotted half rest \keyindex{hpausep}, +quarter rest \keyindex{qp} or \keyindex{soupir}, +eighth rest \keyindex{ds}, sixteenth rest \keyindex{qs}, +32nd rest \keyindex{hs}, and 64th rest \keyindex{qqs}. + + Longer rests, normally interpreted as lasting +two or four bars respectively, can be coded as \keyindex{PAuse} +and \keyindex{PAUSe}, which yield: + +\begin{music}\nostartrule \generalmeter{\meterfrac44} \startextract \def\atnextbar{\znotes\centerbar\PAuse\en}% \NOTEs\en\bar \def\atnextbar{\znotes\centerbar\PAUSe\en}% -\NOTEs\en\endextract +\NOTEs\en\zendextract \end{music} %\check - \subsection{Lifted rests}\index{lifting rests}\index{rest lifting} All the -previous rests with exception of \keyindex{pausep} (pause with a point) and -\keyindex{hpausep} (half rest with a point) are \ital{hboxes}; this means that -they can be vertically offset to meet polyphonic music requirements using the + + \subsection{Raising rests}\index{raising rests} +All the +previous rests except \keyindex{pausep} and +\keyindex{hpausep} are \ital{hboxes}, which means that +they can be vertically offset if needed using the standard \TeX\ command \keyindex{raise}. For example: \begin{quote} @@ -2111,45 +2473,39 @@ standard \TeX\ command \keyindex{raise}. For example: \end{verbatim} \end{quote} - \noindent{\sl{\bfseries CAUTION:} do not try to lift rests (or notes but this -looks so silly that...) using codings like -\verb|\raise2mm|\keyindex{hbox}\verb|{\qp}|. The reason is that the rest -symbol (e.g. \verb|\qp|) is embedded in braces, so that local counting of -spaces (register \verb|\loc@skip|) will be lost, resulting in turn in -overfull/undfull boxes, beam errors, erratic slurring, etc. In general, all -rests and all notes should be coded at the brace level of the \verb|\notes| -command, unless they are deliberately embedded in \keyindex{rlap} or -\keyindex{llap} which actually overlook spacing counting but finally force no -horizontal spacing, a behaviour which compensates the forgotten spacing count.} - - In addition, two symbols have been provided to put a \itxem{full rest} or a -\itxem{half rest} above or below the staff. Then the ordinary \verb|\pause| or -\verb|\hpause| cannot be used since there is a need for small horizontal line -to distinguish between the full and the half rest. They are: - \begin{itemize} - \item \keyindex{liftpause}~$n$ (non spacing) to get a +\noindent where \keyindex{Interligne} is the distance from one staff line to the +next. + +In addition, two macros are available to put a whole or +half rest above or below the staff. The ordinary \verb|\pause| or +\verb|\hpause| cannot be used outside the staff because a short horizontal line +must be added to distinguish between the whole and the half rest. The commands, +which are non-spacing\footnote{Editor's note: The reason for having defined these +as non-spacing is not obvious}, are + \begin{itemize}\setlength{\itemsep}{0ex} + \item \keyindex{liftpause}~$n$ to get a \hbox to10pt{\liftpause{-2}\hss} raised from original position by $n$ staff line intervals, - \item \keyindex{lifthpause}~$n$ (non spacing) to get + \item \keyindex{lifthpause}~$n$ to get \hbox to10pt{\lifthpause{-1}\hss} raised the same way. - \item \keyindex{liftpausep}~$n$ (non spacing) to get a + \item \keyindex{liftpausep}~$n$ to get a \hbox to10pt{\liftpausep{-2}\hss} raised from original position by $n$ staff line intervals, - \item \keyindex{lifthpausep}~$n$ (non spacing) to get + \item \keyindex{lifthpausep}~$n$ to get \hbox to10pt{\lifthpausep{-1}\hss} raised the same way. \end{itemize} %\check \subsection{Bar centered rests}\label{barcentered} -Sometimes it is necessary to place a rest (or other) exactly in the middle -of a bar. This can be done with more sophisticated commands: -%\keyindex{atnextbar} +Sometimes it is necessary to place a rest (or any other symbol) exactly in the middle +of a bar. This can be done with combinations of the commands +\keyindex{atnextbar}, \keyindex{centerbar}, \keyindex{centerPAUSe}, \keyindex{centerPAuse}, \keyindex{centerpause}, -\keyindex{centerhpause}. -For example: +\keyindex{centerhpause}, +as demonstrated in the following example: \begin{music} \generalmeter\meterC @@ -2168,6 +2524,7 @@ For example: \addspace{10\elemskip}% \def\atnextbar{\znotes\centerbar\duevolte|\centerbar\duevolte\en}\endpiece \end{music} +\noindent with the coding \begin{verbatim} \generalmeter\meterC \setclef1\bass @@ -2187,36 +2544,79 @@ For example: \end{verbatim} %\check -\section{Phantom notes and spacing commands}\label{spacing} -It may be interesting, when coding a sequence of notes within a unique pair -\verb|\notes...\enotes|, to skip one note place in order -- for -example -- to set the third note of one staff at the same abscissa as that of -the second note of another staff. This can be done by inserting \keyindex{sk} -which causes a spacing of one \keyindex{noteskip}\footnote{Never use -\keyindex{kern} nor \keyindex{hskip}~: in fact \keyindex{sk} not only causes -a space but also records that space for correct handling of beams, slurs, -trills, octaviation dashed lines, line-breaking, etc.}. Sometimes it is useful -to \ital{skip back} one noteskip, this can be done with \keyindex{bsk}. The -spacing of a half \verb|\noteskip| can be yielded with \keyindex{hsk}. - - %\check +\section{Skipping spaces and shifting symbols}\label{spacing} +We've already mentioned that when coding a sequence of notes inside a +particular pair \verb|\notes...\enotes|, the command \keyindex{sk} can +be used to skip horizontally by one \keyindex{noteskip}. This would be +used for example to align the third note in one staff with the second note +in another. Skipping in this manner is logically equivalent to inserting +blank space; as such, the space must be recorded by \musixtex. This command +and the others discussed here will +do just that, so that \verb|musixflx| can properly account for +the added space. + +To skip by one \verb|noteskip| while in a collective coding sequence, +you may simply insert an asterisk (``\verb|*|''\index{*}). This would have +the same effect as stopping the sequence, entering {\Bslash sk}, then +restarting. For example, - If you just want to shift a note or a symbol by one note head width, -you may write \keyindex{roff}\verb|{|\ital{note/symbol}\verb|}| (shift right) -or \keyindex{loff}\verb|{|\ital{note/symbol}\verb|}| (shift left). - If you just want to shift a note or a symbol by one half note head width, -you may write \keyindex{hroff}\verb|{|\ital{note/symbol}\verb|}| (shift right) -or \keyindex{hloff}\verb|{|\ital{note/symbol}\verb|}| (shift left). +\begin{music} +\setstaffs12 +\startextract +\Notes\hu{e*f*g}|\qu{gghhii}\en +\zendextract +\end{music} +\noindent was coded as +\verb|\Notes\hu{e*f*g}|{\tt |}\verb|\qu{gghhii}\en| + +To skip forward +by one half of a \verb|\noteskip|, use \keyindex{hsk}. +To insert spacing of approximately one note head width, you can use +\keyindex{qsk}, or for half of that, \keyindex{hqsk}. To skip backward +by one \verb|\noteskip|, use \keyindex{bsk}. More generally, +to skip an arbitrary distance, use \keyindex{off}\verb|{|$D$\verb|}| +where $D$ is any \itxem{scalable dimension}, e.g.~\verb|\noteskip| or +\verb|\elemskip|. Indeed, if you look in the +\musixtex\ source, you will see that \verb|\off| is the basic control +sequence used to define all the other skip commands. + +The foregoing commands only work \ital{inside} a \verb|\notes...\enotes| group. +A different set of commands must be used to insert space \ital{outside} +such a group. \keyindex{nspace} produces an +additional spacing of half a note head width; +\keyindex{qspace}, one note head width. These are ``hard'' spacings. To +insert an arbitrary amount of hard space outside a \verb|\notes...\enotes| +group, use \keyindex{hardspace}\verb|{|$d$\verb|}{|\dots\verb|}| where +$d$ is any fixed dimension\label{hardspace}. The foregoing three commands are the only +space-generating commands that insert hard space; all the others insert +scalable spacing: \keyindex{elemskip}, +\keyindex{beforeruleskip}, \keyindex{afterruleskip}, \keyindex{noteskip} and +their multiples. Finally, to insert +scalable spacing outside +a \verb|\notes...\enotes| group, use +\keyindex{addspace}\verb|{|$D$\verb|}|. The argument may be negative, in +which case the normal spacing will be reduced. For example, after +\keyindex{changecontext}, many users prefer to reduce the space with +a command like +\verb|addspace{-|\keyindex{afterruleskip}\verb|}|. + +There is yet another set of commands for simply shifting a note, symbol, or sequence +inside \verb|\notes...\enotes| +without adding or subtracting any space. To shift by one note head width, +you may write \keyindex{roff}\verb|{|\ital{any macro}\verb|}| +or \keyindex{loff}\verb|{|\dots\verb|}| for a right or left shift respectively. + To shift by half of a note head width, use +\keyindex{hroff}\verb|{|\dots\verb|}| or +\keyindex{hloff}\verb|{|\dots\verb|}|. For example, to get %\check - -\begin{music} +\begin{music}\nostartrule \startextract \Notes\roff{\zwh g}\qu g\qu h\qu i\enotes -\endextract +\zendextract \end{music} -you code: +\noindent you would code: %\check @@ -2224,290 +2624,271 @@ you code: \Notes\roff{\zwh g}\qu g\qu h\qu i\enotes \end{verbatim}\end{quote} -If you want to shift notes or symbols right by more or less than one note head -width, then you can use \keyindex{roffset} (or \keyindex{loffset} in the other -direction) which has an additional first argument which is the number of note -head widths the second argument should be shifted by. For example +\noindent To shift notes or symbols by an arbitrary amount, use +\keyindex{roffset}\verb|{|$N$\verb|}{|\dots\verb|}| or +\keyindex{loffset}\verb|{|$N$\verb|}{|\dots\verb|}|, where +$N$ is the distance to be shifted in note head widths. For example -\begin{music} +\begin{music}\nostartrule \startextract \Notes\roffset{1.5}{\zwh g}\qu g\qu h\qu i\enotes -\endextract +\zendextract \end{music} -was coded: +\noindent was coded as \begin{quote}\begin{verbatim} \Notes\roffset{1.5}{\zwh g}\qu g\qu h\qu i\enotes \end{verbatim}\end{quote} -\begin{important} the offset specified or implicitly specified in -\verb|\roff|, \verb|\loff|, \verb|\roffset| and \verb|loffset| does not add to -the total spacing amount; in other words this is just an offset, not a -spacing. Conversely, the possible spacing of commands included in the argument -of \verb|\roff|/\verb|\loff| and in the second argument -of \verb|\roffset|/\verb|\loffset| actually adds to the total spacing in that -bar of the current staff. Therefore, the symbol/note argument of these offset -commands should usually produce no spacing, i.e. begin with \verb|\z|. - - Besides, it is not advised to insert several consecutive spacing notes in -the \verb|\roff|/\verb|\loff| or \verb|\roffset|/\verb|\loffset| arguments, -since it could mess up the global spacing accounting. - \end{important} - - %\check - - -To insert spacing of \ital{nearly} one \ital{note head width}, you can use -\keyindex{qsk}(which has the drawback, that it is scalable, so what spacing -you really get depends on the computed \verb|\elemskip| from \verb|musixflx| -and the user chosen value of \verb|\elemskip|). The half of this spacing can -be forced with \keyindex{hqsk}. Note that these two latter macros must be used -inside a pair \verb|\notes...\enotes|. - - If you want to insert additional spacing before a group of notes, especially -to avoid a collision with an accidental, you can write \keyindex{nspace} --- -outside the \verb|\notes...\enotes| group --- and this will produces an -additional spacing of a half note head width; in the same way, -\keyindex{qspace} will yield a spacing of a note head width. Note that -\verb|\nspace| and \verb|\qspace| are ``hard'' spacings, whose general -feature is \verb|\hardspace|, described below. - -Sometimes the additional space behind \keyindex{changecontext} -disturbs the eye of a typesetter, but this ugly spacing can be reduced with: - -\keyindex{addspace}\verb|{-|\keyindex{afterruleskip}\verb|}%| - -It should be emphasized that all these spacing commands work correctly, only -when their dimension arguments are \itxem{scalable values} and not fixed -dimensions; the scalable dimensions are \keyindex{elemskip}, -\keyindex{beforeruleskip}, \keyindex{afterruleskip}, \keyindex{noteskip} and -their multiples. - -The only spacing command which can work with ``normal'' (that is, -\ital{not scalable}) dimensions is:\label{hardspace}\index{hard spacing} - - -\keyindex{hardspace}\verb|{|\ital{any \TeX~dimension}\verb|}%| - -\noindent but both \verb|\addspace| and \verb|\hardspace| can only be used -outside of \verb|\notes...\enotes|. - -Conversely, a more general spacing is allowed within the -\verb|\notes...\enotes| pairs, namely: +An important feature of these shift commands is that the offset, +whether implicit or explicit, is \ital{not} added to +the total spacing amount, but any spacing due to the included commands is. -\keyindex{off}\verb|{|$D$\verb|}%| - -\noindent where $D$ is a \itxem{scalable dimension}, for example -\verb|\noteskip| or \verb|\elemskip|. In fact, if you look to the -\musixtex\ source, you will find that \verb|\off| is the basic control -sequence used to define \keyindex{sk}, \keyindex{qsk}, etc. - - %\check - -\section{Collective coding: sequences of notes} - -As seen in the {\sc Mozart} example, it is not necessary to write a macro -sequence \verb|\notes...\enotes| for each column\footnote{Although -the compiler compiles it faster.}. If, on all -staffs of all instruments, spacings are equal or multiple of a unique value, -the notes may be concatenated in each staff: each note in each staff makes -the current position horizontally advance by the elementary spacing specified -by the choice of \verb|\notes|, \verb|\Notes|, \verb|\NOtes|, etc. - - The major interest of this feature resides in that fact that -the note macros are able to write several items; for instance -\verb|\qu{cdefghij}| writes the \ital{C-major} scale in quarters with -stem up. In the same way \verb|\cl{abcdef^gh}| writes the -\ital{A-minor} scale in eighths. Not all note generating macros can be -used to perform collective coding, but most of them can. - - If necessary a void space\footnote{same behaviour as {\Bslash sk}} -can be inserted in a collective coding by using \verb|*|\index{*}. - - %\check \section{Accidentals} Accidentals can be introduced in two ways. - The first way, the \ital{manual} way of coding them, consists for -example in coding \keyindex{fl}\verb|a| to put a \ital{flat} at the -pitch $a$, supposedly before the further note of that pitch. -There is no control upon the fact that a note will be put at this position -and at this pitch. -Naturals, sharps, double flats and double sharps are coded \keyindex{na}~$p$, -\keyindex{sh}~$p$, \keyindex{dfl}~$p$ and \keyindex{dsh}~$p$ respectively. + The first way, using explicit macros, consists for +example in coding \keyindex{fl}\pitchp~to put a \ital{flat} at the +pitch $p$, presumably right before a note at the same pitch. This is a +non-spacing command and will automatically place the accidental an +appropriate distance to the left of the anticipated note head. +Naturals, sharps, double flats and double sharps are coded \keyindex{na}\pitchp, +\keyindex{sh}\pitchp, \keyindex{dfl}\pitchp~and \keyindex{dsh}\pitchp~respectively. -Alternate procedures \keyindex{lfl}, \keyindex{lna}, \keyindex{lsh}, +The alternate macros \keyindex{lfl}, \keyindex{lna}, \keyindex{lsh}, \keyindex{ldfl} and \keyindex{ldsh} -place the same accidentals, but their abscissa is shifted one note head width -on the left. The purpose of this is to avoid collision of accidentals -in a chord with narrow intervals. - - The second way of coding accidentals consists in putting the symbol -\verb|^| (sharp), the symbol \verb|_| (flat), the symbol \verb|=| (natural), the -symbol \verb|>| (double sharp), or the symbol \verb|<| (double -flat) within the coding of the note, e.g.: \verb|\qb{^g}| yields a -$G\sharp$. This may very well be combined with collective coding, e.g.: +place the same accidentals, but shifted one note head width +to the left. These can be used if a note head has been shifted to the left, or +to avoid collision with other accidentals +in a chord. If you want to shift an accidental by some other amount for +more precise positioning, you could use \keyindex{loffset} with the normal +accidental macro as the second parameter. + + The second way of coding accidentals is to modify the parameter of a +note command. Just put the symbol +\verb|^| for a sharp, \verb|_| for a flat, \verb|=|~for a natural, +\verb|>| for a double sharp, or \verb|<| for a double +flat, right before the letter or number representing the pitch. +For example, \verb|\qb{^g}| yields a +$G\sharp$. This may be used effectively in collective coding, e.g. \verb|\qu{ac^d}|. - Two sizes are available for accidentals. They revert to the small -version when notes are supposed to be too close to each other. These two -sizes can be forced by coding \keyindex{bigfl}, \keyindex{bigsh}, etc., or -\keyindex{smallfl}, \keyindex{smallsh}, etc. If one does not want to have any -small accidentals, then one can declare \keyindex{bigaccid} (conversely -\keyindex{smallaccid} or \keyindex{varaccid} -- the latter restoring variable -sizes). + There are two sizes of accidentals. By default they will be large unless there +is not enough space between notes, in which case they will be made small. Either +size can be forced locally by coding \keyindex{bigfl}, \keyindex{bigsh}, etc., or +\keyindex{smallfl}, \keyindex{smallsh}, etc. If you want all accidentals to +be large, then declare \keyindex{bigaccid} near the top of the input file. For +exclusively small ones use \keyindex{smallaccid}. \keyindex{varaccid} will restore +variable sizes. - Small accidentals can also be put \ital{above} the note -heads. This is done using \keyindex{uppersh}~$p$, \keyindex{upperna}~$p$ or -\keyindex{upperfl}~$p$: + For editorial purposes, small accidentals can be placed \ital{above} note +heads. This is done using \keyindex{uppersh}\pitchp, \keyindex{upperna}\pitchp, or +\keyindex{upperfl}\pitchp: -\begin{music} +\begin{music}\nostartrule \startextract \NOtes\uppersh l\qa l\enotes \NOtes\upperna m\qa m\enotes \NOtes\upperfl l\qa l\enotes -\endextract +\zendextract \end{music} - It also possible to introduce \ital{\ixem{cautionary accidental}s} on a -score, i.e.\ small size accidentals between parentheses. This done by preceding -the name of the accidental keyword by a \verb|c|,\label{cautionary} - e.g.~by coding \keyindex{cfl}~$p$ to get a cautionary flat. - Available cautionary accidentals are \keyindex{csh}, \keyindex{cfl}, \keyindex{cna}, -\keyindex{cdfl} and \keyindex{cdsh}, which give: - -\begin{music} + It also possible to introduce \ital{\ixem{cautionary accidental}s}, +i.e.\ small accidentals enclosed in parentheses. This done by preceding +the name of the accidental keyword with ``\verb|c|'',\label{cautionary} + e.g.~\keyindex{cfl}\pitchp~for a cautionary flat. + Available cautionary accidentals are \keyindex{csh}, \keyindex{cfl}, +\keyindex{cna}, +\keyindex{cdfl} and \keyindex{cdsh}, which give + +\begin{music}\nostartrule \startextract \NOtes\csh g\qa g\enotes \NOtes\cfl h\qa h\enotes \NOtes\cna i\qa i\enotes \NOtes\cdfl j\qa j\enotes \NOtes\cdsh k\qa k\enotes -\endextract +\zendextract \end{music} \noindent -Besides, the distance between note and accidental is influenced by -\keyindex{accshift}\verb|=|\ital{any \TeX\ dimension} +The distance between all notes and accidentals is controlled by +\keyindex{accshift}\verb|=|\ital{any \TeX\ dimension}, where +positive values shift to the left and negative to right, with a +default value of \verb|0pt|. + + \section{Transposition and octaviation}\label{octaviation} +Two different subjects are discussed in this section. First, there +are commands that cause notes to be printed at different pitches than +entered. We shall refer to this as \ital{logical} transposition. +Second, there are notations for octaviation that do +not otherwise alter the appearance of the score, which we'll call +\ital{octaviation lines}. + +\subsection{Logical transposition and octaviation} + +Logical transposition is controlled by an integer-valued \TeX\ register +\keyindex{transpose}. Its default value is 0. If you enter +\verb|\transpose=|$n$, then all subsequent pitches specified by +letters will be transposed by $n$ positions. Normally this method would be +used to transpose an entire piece. Pitches specified with +numbers will not be affected, so if you think you will ever want to +transpose a piece, you should enter all note pitches with letters. + +One way to transpose up or down by one octave would be to set +\keyindex{transpose} to 7 or $-7$. For example, to make a quarter note +octave as a chord, you could define a macro as +\verb|\def\soqu#1{\zq{#1}{\transpose=7 \qu{#1}}}|. +Note that because \verb|\transpose| is altered inside a pair of braces, the +effect of the alteration is only local and does not reach outside the braces. + + Another more convenient way to transpose locally up or down by one octave +makes use respectively of the characters +\verb|'| (\itxem{acute accent}) and \verb|`| (\itxem{grave accent}), +placed immediately before the letter specifying the pitch. So +for example \verb|\qu{'ab}| is equivalent to \verb|\qu{hi}| and +\verb|\qu{`kl}| is equivalent to \verb|\qu{de}|. These characters have +cumulative effects but in a somewhat restricted sense. They will alter the value of +\verb|\transpose|, but only until changing to a different staff or +instrument or encountering \verb|\enotes|, at which time it will be reset to the +value it had before the accents were used. (That value is stored in +another register called \keyindex{normaltranspose}). Thus for example +\verb|\qu{''A'A}| and \verb|\qu{''A}\qu{'A}| +are both equivalent to \verb|\qu{ah}|. + +At any point it is possible to reset the \verb|\transpose| register +explicitly to the value it had +when entering \verb|\notes|, by prefacing a pitch indication with +``\verb|!|''. Thus \verb|\qu{!a'a}| always +gives the note \verb|a| and its upper octave \verb|h|, shifted by the +value of {\Bslash transpose} at the beginning of the current +\verb|\notes...\enotes| group, regardless of the number of grave and +acute accents occurring previously within that group. + + \subsection{Behavior of accidentals under logical transposition}\label{transposeaccids} + The above processes indeed change the vertical position of the note heads +and associated symbols (e.g.~stems and beams), but they don't take +care of the necessary changes of accidentals when transposing. For example, +suppose an F$\sharp$ occurs in the key of C major. If the piece is +transposed up three steps to the key of F, the F$\sharp$ should logically +become a +B$\natural$. But if all you do is set \verb|\transpose=3|, the note will +be typeset as a B$\sharp$. In other words, \musixtex\ will interpret the~\verb|\sh| +or~\verb|^| to mean ``print a $\sharp$''. + +Naturally there is a solution, but it requires the typesetter to plan +ahead: To force accidentals to behave well under transposition, they +must be entered according to the \ital{relative +accidental convention}. To alert \musixtex\ that you are using this +convention to enter notes, you must issue the command +\keyindex{relativeaccid}. Once you have done this, the meaning of +accidental macros and characters (accents) in the input file is changed. +Under the convention, when for example a +\verb|\sh| is entered, it indicates a note that is supposed to sound +\ital{one half step higher than what it would normally be under the +current key signature}. Flats and naturals on entry similarly indicate +notes one half step lower or at the same pitch as what the key signature +dictates. \musixtex\ will take account of the key signature, and print +the correct symbol according to the modern notational convention, +provided you have explicitly entered the transposed key signature using +for example \verb|\generalsignature|. + +Many people have a difficult time understanding how this works, so +here are two simple examples in great detail. Consider the case already mentioned +of the F$\sharp$ in the key of C major. With +\verb|\relativeaccid| in effect, it should still be entered as \verb|\sh f|, and +with no transposition it will still appear as F$\sharp$. With +\verb|\transpose=3| and \verb|\generalsignature{-1}| it will appear +(correctly) as B$\natural$. Conversely, suppose you want to enter a +B$\natural$ when originally in the key of F. With \verb|\relativeaccid| in effect, it +should be entered as \verb|\sh i|. (That's the part that people +have the most trouble with: ``If I want a natural, why do I have to enter a sharp?'' Answer: +``Go back and re-read the previous paragraph very carefully.'') With no transposition, it will be +printed as B$\natural$. Now to transpose this to C major, set +\verb|\transpose=-3| and \verb|\generalsignature0|, and it will appear +as F$\sharp$. + +If you have invoked \verb|\relativeaccid| and then +later for some reason wish to revert to the ordinary convention, +enter \keyindex{absoluteaccid}. + +\subsection{Octaviation lines} +The first kind of notation for octave transposition covers a +horizontal range that must be specified at the outset. The sequence -\noindent -positive values shift to left, negative to right, default is \verb|0pt|. - \section{Transposition and octaviation} -An important feature is the existence of a special register -\keyindex{transpose} the normal value of which is 0. If you say - -\verb|\transpose=3| - -\noindent all subsequent pitches specified by -upper or lower case letters\footnote{Pitches specified with figures are -absolute and not transposed.} will be transposed 3 positions. If you set -\keyindex{transpose} to 7 you may write your music one octave below its final -pitch. Thus, you can define \ital{octaviation} macros like - -\verb|\def\soqu#1{\zq{#1}{\transpose=7 \qu{#1}}}| - -\noindent to build quarter note octaves in a single call. Note -that the octaviated note is coded within braces so that the transposition -is only local. - - \ital{Octaviation}\index{octaviation} can also be performed in another -way, namely using special codes to transpose by multiples of 7 intervals. -For example \verb|\qu{'ab}| is equivalent to \verb|\qu{hi}| and -\verb|\qu{`kl}| is equivalent to \verb|\qu{de}|. It should be -emphasized here that the \verb|'| (\itxem{acute accent}) and the \verb|`| -(\itxem{grave accent}) have cumulative effects, so that \verb|\qu{''A'A}| -is equivalent to \verb|\qu{ah}| and that the \verb|\transpose| -parameter is only reset to its initial value (not necessarily zero) when -changing staff or instrument (i.e. \| or \verb|&|) or at \verb|\enotes|. - Since this may be confusing, it is useful to use the \verb|!| prefix -to reset the \verb|\transpose| register explicitely to the value it had -when entering \verb|\notes|\footnote{This value is saved in another -register named \keyindex{normaltranspose}.}. Thus \verb|\qu{!a'a}| always -gives the note \verb|a| and its upper octave \verb|h| \ital{shifted by the -value of {\Bslash transpose} at the beginning of the current} \noindent -\verb|\notes...\enotes| group (or \verb|\Notes...\enotes|, -etc.) whatever the number of previous grave and acute accents occurring -inbetween. - \subsection{Typical piano octave transposition} - \subsubsection{Local octave transposition of fixed length} -\begin{music} +\medskip +\begin{music}\nostartrule \startextract -\NOTEs\octfinup{10}{3.5}\qu a\qu b\qu c\qu d\en -\endextract +\NOTEs\octfinup{10}{3.5}\ql{!'a}\ql b\ql c\ql d\en +\zendextract \end{music} \noindent can be coded as -\begin{quote}\begin{verbatim} -\startextract -\NOTEs\octfinup{10}{3.5}\qu a\qu b\qu c\qu d\en -\endextract -\end{verbatim}\end{quote}\zkeyindex{octfinup} -\noindent that is, the dashed line extends 3.5$\times${\Bslash noteskip}. -Conversely, lower octaviation can also be coded, for example: +\verb|\NOTEs\octfinup{10}{3.5}\qu a\qu b\qu c\qu d\en|. +\zkeyindex{octfinup} +Here, the dashed line is at staff level 10 and extends 3.5\verb|\noteskip|. +Conversely, lower octaviation can be coded. For example -\begin{music} +\begin{music}\nostartrule \startextract \NOTEs\octfindown{-5}{2.6}\ql j\ql i\ql h\en -\endextract +\zendextract \end{music} -\noindent which is coded as -\begin{quote}\begin{verbatim} +\noindent is coded as +\verb|\NOTEs\octfindown{-5}{2.6}\ql j\ql i\ql h\en|. +\zkeyindex{octfindown} + To change the text that is part of these notations, redefine one of +the macros \keyindex{octnumberup} or \keyindex{octnumberdown}. The reason for +the distinction between up and down is that, traditionally, upper octaviation +only uses the figure +``8'' to denote its beginning, while lower octaviation uses a more +elaborate indication such as \hbox{\ppffsixteen8$^{va}$ \it bassa}. Thus + +\bigskip +\begin{music}\nostartrule \startextract -\NOTEs\octfindown{-5}{2.6}\ql j\ql i\ql h\en -\endextract -\end{verbatim}\end{quote}\zkeyindex{octfindown} -If a more sophisticated posting is wanted, this can be achieved refefining -the macro \keyindex{octnumber}, e.g.: - -\begin{music} -\startextract -\NOTEs\def\octnumber{\ppffsixteen8$^{va}$}\octfinup{10}3\qu c\qu d\qu e\en -\endextract +\NOTEs\def\octnumberup{\ppffsixteen8$^{va}$}\octfinup{10}{2.5}\qu c\qu d\qu e\en +\zendextract \end{music} -\noindent whose coding is -\begin{quote}\begin{verbatim} -\startextract -\NOTEs\def\octnumber{\ppffsixteen8$^{va}$}\octfinup{10}3\qu c\qu d\qu e\en -\endextract -\end{verbatim}\end{quote} -\noindent or +\noindent is coded + +\noindent\verb|\NOTEs\def\octnumberup{\ppffsixteen8$^{va}$}\octfinup{10}{2.5}\qu c\qu d\qu e\en| + +\noindent while \begin{music} \startextract -\NOTEs\def\octnumber{\ppffsixteen8$^{va\,bassa}$}\octfindown{-5}4\ql l\ql k\ql j\en +\NOTEs\def\octnumberdown{\ppffsixteen8$_{ba}$}\octfindown{-5}{2.5}\ql l\ql +k\ql j\en \endextract \end{music} -\noindent coded as: +\noindent is coded as \begin{quote}\begin{verbatim} -\startextract -\NOTEs\def\octnumber{\ppffsixteen8$^{va\,bassa}$}% - \octfindown{-5}4\ql l\ql k\ql j\en -\endextract +\NOTEs\def\octnumberdown{\ppffsixteen8$_{ba}$}% + \octfindown{-5}{2.5}\ql l\ql k\ql j\en \end{verbatim}\end{quote} -\subsubsection{Long or variable range octave transposition} -Long range octave transpositions are better handled using -\keyindex{Ioctfinup}, +The foregoing constructions have the drawbacks that (a) the span must be +indicated ahead of time and (b) they cannot extend across a line break. +Both restrictions are removed with the use of the alternate macros \keyindex{Ioctfinup}, \keyindex{Ioctfindown} and -\keyindex{Toctfin} whose effect extends over line breaks. +\keyindex{Toctfin}. -{\Bslash Ioctfinup}~$np$ starts an octave transposition of reference number -$n$ (with $0\le n<6\equiv$\keyindex{maxoctlines}) dashed line at pitch $p$ -(usually $p>10$ but it can also be an alphabetic pitch specification), -{\Bslash Ioctfindown}~$np$ starts a lower octave transposition at pitch $p$ -(usually $p<-2$), and both extend until terminated with {\Bslash toctfin}. The +{\Bslash Ioctfinup}~$np$ indicate an upward octave transposition line with reference number +$n$ ($0\le n<6$) and with dashed line at pitch $p$. Usually $p$ will be numeric and $>9$, +but it can also be a letter. +{\Bslash Ioctfindown}~$np$ starts a lower octave transposition line at pitch $p$ +(usually $p<-1$). Both extend until terminated with {\Bslash Toctfin}. The difference between {\Bslash Ioctfinup}~$n$ and {\Bslash Ioctfindown}~$n$ is -the relative position of the ``8'' figure with respect to the dashed line, and -the sense of the terminating hook (note that {\Bslash Ioctfinup} has a hook -under the dashed line, and conversely). - -For the sake of backward compatibility, \keyindex{ioctfinup} is equivalent to +the relative position of the figure ``8'' with respect to the dashed line, and +the sense of the terminating hook As shorthand, \keyindex{ioctfinup} is equivalent to \verb|\Ioctfinup 0| and \keyindex{ioctfindown} is equivalent to \verb|\Ioctfindown 0|. -For example: + +For example, \medskip - \begin{music} + \begin{music}\nostartrule \instrumentnumber{1} \setstaffs12 \setclef1{6000} @@ -2520,11 +2901,11 @@ For example: \Notes\wh{NMLKJI}|\wh{nmlkji}\Toctfin1\enotes \bar \Notes\wh{HGFED}\Toctfin2\wh C|\wh{hgfedc}\enotes -\endextract +\zendextract \end{music} -whose coding is +\noindent is coded as \begin{quote}\begin{verbatim} -\begin{music} +\begin{music}\nostartrule \instrumentnumber{1} \setstaffs12 \setclef1{6000} @@ -2537,112 +2918,88 @@ whose coding is \Notes\wh{NMLKJI}|\wh{nmlkji}\Toctfin1\enotes \bar \Notes\wh{HGFED}\Toctfin2\wh C|\wh{hgfedc}\enotes -\endextract +\zendextract \end{music} \end{verbatim}\end{quote} %\check + The elevation of octaviation lines may be changed in midstream using +\keyindex{Liftoctline}~$n$$p$, where $n$ is the reference number of the + octave line, and $p$ a (possibly negative) number of +\keyindex{internote}s (staff pitch positions) by which elevation of the dashed line should be changed. +This may be useful when octaviation lines extend over several systems and the +elevation needs to be changed in a systems after the one where it was initiated. -%\begin{changebar} - - The elevation of octaviation lines may be raised/lowered using -\keyindex{Liftoctline}~$n$~$p$ where $n$ is the reference number of the - wanted ocave line, and $n$ a number (possibly negative) number of -\verb|\internote| by which the dashed line should be lifted. This is -particularly useful when octaviation lines last several systems and need to be -lifted in the systems occuring farther than the initiation. - -%\end{changebar} - - \subsection{Transposition of accidentals} - The above processes indeed change the vertical position of the note heads -and associated symbols (note stems, accents and beams) but they do not take -care of the necessary changes of accidentals when transposing, i.e. the fact -that an $F\sharp$ occurring with a zero signature should become a $B\natural$ -when transposing from the tonality of $C$ major to $F$ major where the normal -$B$ is the $B\flat$. Since the intent of the composer is not obvious -- he -may want to shift a group of notes within the same tonality or conversely to -transpose it in another tonality -- this is not done automatically. Thus the -\keyindex{sh}, \keyindex{fl}, \keyindex{na}, \keyindex{dsh} and -\keyindex{dfl} symbols \ital{are not affected} by a change of the -\keyindex{transpose} register. - - But the composer/typesetter may ask \musixtex\ to do that work. In this -case, he should code \keyindex{relativeaccid}. In that case, a \verb|\sh| -command means that the corresponding pitch\footnote{The musical output note, -not the typesetting position.} has to be raised by \ital{one half pitch} -with respect to its normal value \ital{according to the current signature}. -Thus \verb|\sh b| (using \keyindex{relativeaccid}) means a $B\sharp$ if the -signature is zero or positive, and a $B\natural$ if it is negative. The same -logic applies for all accidentals using \keyindex{relativeaccid}. - -In the same way, the compact codes \verb|^|, \verb|_|, \verb|=| are normally -not affected by transposition and signatures, but their behaviour will be -changed by saying \keyindex{relativeaccid} and reset by -\keyindex{absoluteaccid} (the default situation)\footnote{Note that the -behaviour of {\Bslash sh}, {\Bslash na} and {\Bslash fl} with \musixtex\ -corresponds to the behaviour of {\Bslash Sh}, {\Bslash Na} and {\Bslash Fl} -with \musictex+{musictrp.tex}. But the {\tt musixcpt.tex} file forces the same -behaviour as \musixtex\ in that respect, see page \pageref{compatibility}.}. - - Although \ital{relative accidental coding} is an easy and safe way of -coding \ital{transposable} scores, care should be exercised in getting rid -of the habit of saying \verb|\na b| to raise the pitch of a $B$ when the -tonality is $F$ major (i.e. with \keyindex{setsign$n$}\verb|=-1| or -\keyindex{generalsignature}\verb|{-1}|). An example of sophisticated -transposition is given in the score \verb|souvenir.tex| (which \verb|\input|s -\verb|souvenix.tex|). - - %\check \section{Slurs and ties} -The slurs and ties provided by \musixtex\ can be divided into two categories: +Two fundamentally different implementations of slurs, ties, and hairpins are +available. (The hairpins ``go along for the ride'' with slurs and ties.) First, there are the +original \ital{font-based} versions. These are constructed with traditional +\TeX\ font characters that were created with \MF\ and stored in \TeX\ font files. +Second, it is now possible +to generate these shapes directly with postscript, dispensing altogether with +the font characters\footnote{Please do not be confused by the availability of +postscript versions of the font-based slur fonts (along with all other \musixtex\ fonts). +Once installed in a \TeX\ system, +their function and use are 100\% transparently identical with bitmapped versions +of the slur fonts. On the other +hand, postscript slurs are functionally distinct from font-based slurs, and only + share some of the same syntax.}. We shall first describe the font-based versions, +then Type K postscript slurs, which are one of two available postscript slur +options\footnote{An +alternate approach to postscript slurs, called {\it Type M} after its developer +Hiroaki {\sc Morimoto}, is available from the +\href{http://icking-music-archive.org/software/indexmt6.html} +{\underline{Icking Music Archive}}.}. If you plan to use Type K postscript slurs, +you may skip directly to section~\ref{PostscriptSlurs}. + + \subsection{Font-based slurs} + +Font-based slurs and ties provided by \musixtex\ can be divided into two categories: \label{simpleslur} -\begin{itemize} +\begin{itemize}\setlength{\itemsep}{0ex} \item Those where the complete slur symbol is composed of a single character from one of the slur fonts, and - \item those where the slur symbol is composed three discrete + \item those where the slur symbol is composed of three distinct characters, to form the beginning, middle and end of the slur. \end{itemize} -The former are called \ital{simple slurs} and the latter are called -\ital{compound slurs}. To some extent the division between the two is -invisible to the user, in that a number of the macros described below will -select between the two types automatically. However, other macros are -provided to -enable simple slurs to be specified. Note that slurs of both types must be -coded within the pair \verb|\notes...\enotes|. - \subsection{General slur coding} -This section describes the usual method of slur coding, where the -choice between simple or compound slurs is made automatically. -In this case, slurs are initiated and terminated by separate macros, -as is the case for beams. - \subsubsection{Slur initiation} -The slur must be initiated {\em before} -the spacing note at which the slur begins, and terminated {\em before} the -note at which the slur ends. The simplest slur initiation macro is - -\keyindex{isluru}~$np$ +The former are called \ital{simple slurs} and the latter, +\ital{compound slurs}. In many cases the distinction between the two is +invisible to the user, in that many of the macros described below will +automatically select between the two types. However, there are other macros +that allow simple slurs to be forced. -\noindent which initiates an upper slur, with reference -number $n$, beginning at pitch $p$. The starting point of the slur is -centred above an imaginary quarter note head at pitch $p$. -As for beams, the reference number $n$ takes values from 0 to 5, or -0 to 8 if \ttxem{musixadd.tex} is included. -Similarly, \keyindex{islurd}~$np$ initiates a lower slur. +The next few subsections describe the usual method of slur coding, where the +choice between simple or compound slurs is made automatically. +In this case, slurs are initiated and terminated by separate macros, +similar to beams. + + \subsubsection{Font-based slur initiation} +A slur must be initiated \ital{before} +the spacing note on which the slur begins, and terminated \ital{before} the +note on which it ends. The basic slur initiation macro is +\keyindex{isluru}\enpee, which initiates an upper slur, with reference +number $n$, beginning on a note at pitch $p$. The starting point of the slur is +centered above a virtual quarter note head at pitch +$p$\footnote{The slur will start in the same place regardless of whether there is +{\it actually} a note at pitch $p$.}. +As with beams, the reference number $n$ can take values from 0 to 5, or +up to 8 or 11 respectively if \ttxem{musixadd.tex} or \ttxem{musixmad.tex} is included. +Similarly, \keyindex{islurd}\enpee\ initiates a lower slur. These slurs are terminated by coding -\keyindex{tslur}~$np$ where $n$ is the reference number and $p$ is the -termination pitch. To illustrate with a simple example, the following +\keyindex{tslur}\enpee\ where $n$ is the reference number and $p$ is the +termination pitch. To illustrate with an elementary example, the following passage -\begin{music} +\begin{music}\nostartrule \startextract \NOtes\islurd0g\qu g\tslur0{'c}\qu c\en \Notes\isluru0{'e}\ibl0e{-2}\qb0{edc}\tslur0b\tqb0b\en \bar \NOtes\islurd0{'a}\qu a\tslur0{`f}\qu f\en \NOTes\hu g\en -\endextract +\zendextract \end{music} \noindent was coded as: @@ -2655,24 +3012,26 @@ passage \end{verbatim}\end{quote} Other macros are provided to change the starting and ending point of the slur -in relation to the initial and final notes. Thus, \keyindex{issluru}~$np$ -initiates a ``short'' upper slur suitable for linking notes involved in chords. The +in relation to the initial and final notes. Thus, \keyindex{issluru}\enpee\ +initiates a ``short'' upper slur suitable for linking notes involved in chords. +The starting point is shifted to the right, and is vertically aligned with the -centre of an imaginary quarter note head at pitch $p$. If a lower short slur -is wanted, one should use \keyindex{isslurd}~$np$. - +center of a virtual quarter note head at pitch $p$. If a lower short slur +is wanted, one should use \keyindex{isslurd}\enpee. Sometimes, busy scores call for slurs which are vertically aligned with the -ends of note stems rather than note heads. These ``beam'' slurs --- so called -because the slur is written at usual beam height --- are provided by the -macros \keyindex{ibsluru}~$np$ and \keyindex{ibslurd}~$np$. These macros +ends of note stems rather than note heads. These ``beam'' slurs---so called +because the slur is written at usual beam height---are provided by the +macros \keyindex{ibsluru}\enpee\ and \keyindex{ibslurd}\enpee. These macros initiate slurs raised or lowered by the current stem height to accommodate stems or beams above or below. %\check - \subsubsection{Slur termination}\label {slurtermin} -Termination of slurs can be achieved in two ways. First, macros matching -each of the initialization macros are provided, as shown below.\\ + \subsubsection{Font-based slur termination} +Font-based slurs that are not forced to be simple must be terminated by an explicit +command right before the last note under the slur. There are termination +commands analogous to each of the initiation commands alread presented. They +are summarized in the following table: \begin{center} \begin{tabular}{ll} Initiation & Termination \\ @@ -2682,123 +3041,87 @@ each of the initialization macros are provided, as shown below.\\ \keyindex{ibsluru} & \keyindex{tbsluru}\\ \keyindex{ibslurd} & \keyindex{tbslurd}\\ \hline - \end{tabular} \end{center} These specific termination macros enable slurs -started in one way to be terminated in another. For example, a slur beginning + \end{tabular} \end{center} + +\noindent All of these command have two parameters, $n$ and $p$. + +These specific termination macros are not restricted to being used with their +initiation counterpart. A slur +started in one sense can be terminated in another. For example, a slur beginning as a ``beam'' slur may be terminated as a normal slur. This would be achieved using the macro pair \verb|\ibslur...\tslur|. - \subsubsection{Ties} The coding of \itxem{ties} follows from the above -discussion as a special case of slurs, i.e. when there is no pitch change. -Upper ties are initiated by \keyindex{itieu}~$np$ which starts an upper tie of -reference number $n$ at pitch $p$. -Lower ties are initiated by \keyindex{itied}~$np$ which starts an lower tie of -reference number $n$ at pitch $p$. -The starting position of the tie is the same as \verb|\issluru| and + \subsubsection{Font-based ties} Font-based ties will have the same shapes as +ordinary font-based slurs of the same length between notes of equal pitch, +but there are two important distinctions: +(1) There cannot be any pitch difference between start and end, and (2) the +positions of both the beginning and end of a tie relative to the note heads +are slightly different from those of an ordinary slur\footnote{Editor's note: In +fact, it appears that the default positioning of the ends of ties is exactly +the same as that of short slurs.}. +Upper ties are initiated by \keyindex{itieu}\enpee, which starts an upper tie of +reference number $n$ at pitch $p$. +Lower ties are initiated by \keyindex{itied}\enpee, which starts an lower tie of +reference number $n$ at pitch $p$. The starting position of the tie is the same +as \verb|\issluru| and \verb|\isslurd| respectively. The tie is terminated by coding -\keyindex{ttie}~$n$. +\keyindex{ttie}\onen. Note that no pitch parameter is required. -Some simple examples of slurs and ties are illustrated below. +There are also \ital{short ties}, which bear the same relation to ordinary +ties as short slurs to ordinary slurs. They are intended to be used between chords. +They are initiated with +\keyindex{itenu}\enpee~or \keyindex{itenl}\enpee\footnote{Editor's note: It is +not clear why this command uses ``{\tt l}'' when all other similar ones use +``{\tt d}''.}, and terminated with \keyindex{tten}\onen. -\begin{music} +The following example illustrates the differences in positioning of the various +slur and tie options: + +\begin{music}\nostartrule +\startextract +\NOTes\islurd0g\qu g\tslur0g\qu g\isslurd0g\qu g\tsslur0g\qu g% +\ibsluru0g\qu g\tbsluru0g\qu g\itied0g\qu g\ttie0\qu g% +\itenl0g\qu g\tten0\qu g\en +\zendextract +\end{music} +\noindent It was coded as +\begin{quote}\begin{verbatim} +\NOTes\islurd0g\qu g\tslur0g\qu g\isslurd0g\qu g\tsslur0g\qu g% +\ibsluru0g\qu g\tbsluru0g\qu g\itied0g\qu g\ttie0\qu g% +\itenl0g\qu g\tten0\qu g\en +\end{verbatim}\end{quote} + +\noindent Here are some more general examples of font-based slurs and ties +discussed so far: + +\begin{music}\nostartrule \startextract \NOTes\isluru0g\hl g\tslur0h\hl h\en \NOTes\islurd0c\issluru1g\zh{ce}\hu g\tslur0d\tsslur1h\zh{df}\hu h\en \NOTes\ibsluru0g\islurd1g\hu g\tubslur0h\hu h\en \NOTes\itieu0k\hl k\ttie0\tdbslur1f\hl k\en -\endextract +\zendextract \end{music} \noindent This was coded as: \begin{quote}\begin{verbatim} -\begin{music} -\startextract \NOTes\isluru0g\hl g\tslur0h\hl h\en \NOTes\islurd0c\issluru1g\zh{ce}\hu g\tslur0d\tsslur1h\zh{df}\hu h\en \NOTes\ibsluru0g\islurd1g\hu g\tubslur0h\hu h\en \NOTes\itieu0k\hl k\ttie0\tdbslur1f\hl k\en -\endextract -\end{music} \end{verbatim}\end{quote} - \subsubsection{Short ties} Usual music coding makes ties not different of -slurs, i.e. a tie is typed exactly like a slur linking two notes of same pitch. -However, this traditional way of doing has two the drawback: - \begin{itemize} - \item in some special cases, a slur might be confused with a tie and -conversely, - \item chord ties cannot be implemented with the slur starting above or below -the note, but only starting just right of the noetead and finishing just left -of the other note head. - \end{itemize} - This can be done using \verb|\issluru| (\ref{slurtermin}, p. -\pageref{slurtermin}) or \keyindex{itenu}~$np$, \keyindex{itenl}~$np$ for tie -initiation, and \keyindex{tten}~$n$ to terminate it. As an example: - \begin{music} - \startextract - \NOTes\itenl0d\itenl1e\itenu2g\itenu3j\zh{ceg}\hu j\enotes - \bar - \NOTes\tten0\tten1\tten2\tten3\zh{ceg}\hu j\enotes - \endextract - \end{music} - \noindent was coded as: - \begin{quote}\begin{verbatim} - \begin{music} - \startextract - \NOTes\itenl0d\itenl1e\itenu2g\itenu3j\zh{ceg}\hu j\enotes - \bar - \NOTes\tten0\tten1\tten2\tten3\zh{ceg}\hu j\enotes - \endextract - \end{music} - \end{verbatim}\end{quote} - %\check - - - \subsubsection{Slur limitations} - The vertical gap between slur initiation and slur termination is limited to -16\verb|\Internote|. Thus exceedingly ascending slurs lead to unfortunate -results, such as~: - - \begin{music} -\instrumentnumber{1} -\generalmeter{\meterfrac34} -\startextract\NOTes\multnoteskip3\isluru0c\ql c\tslur0j\ql j\enotes - \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0n\ql n\enotes\endextract - -\startextract\NOTes\multnoteskip3\isluru0c\ql c\tslur0s\ql s\enotes - \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0z\ql z\enotes\endextract - \end{music} - whose coding was: - \begin{quote}\begin{verbatim} -\startextract\NOTes\multnoteskip3\isluru0c\ql c\tslur0j\ql j\enotes - \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0n\ql n\enotes\endextract - -\startextract\NOTes\multnoteskip3\isluru0c\ql c\tslur0s\ql s\enotes - \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0z\ql z\enotes\endextract - \end{music} - \end{verbatim}\end{quote} - - Besides, tentative slurs of excessive slope may also yield unexpected shapes, -such as: - \begin{music} -\instrumentnumber{1} -\generalmeter{\meterfrac34} -\startextract\NOTes\isluru0c\ql c\enotes\notes\tslur0j\ql j\enotes - \bar\NOTes\isluru0c\ql c\enotes\notes\tslur0n\ql n\enotes - \NOTes\isluru0c\ql c\enotes\notes\tslur0s\ql s\enotes - \bar\NOTes\isluru0c\ql c\enotes\notes\tslur0z\ql z\enotes - \endextract - \end{music} +\subsubsection{Dotted slurs} - \subsection{Dotted slurs} Compound and simple slurs (\ref{simpleslur}, -p.\pageref{simpleslur}) may be drawn dotted\footnote{Thanks to Werner {\sc -Icking}.} specifying \keyindex{dotted} just before slur initiation. +Any font-based slur may be made dotted by specifying \keyindex{dotted} +just before it is initiated: -\begin{music} +\begin{music}\nostartrule \startextract \NOtes\dotted\islurd0g\qu g\tslur0{'c}\qu c\en \Notes\dotted\isluru0{'e}\ibl0e{-2}\qb0{edc}\tslur0b\tqb0b\en\bar \NOtes\dotted\slur{'a}{`f}d1\qu{'a`f}\en \NOTes\hu g\en -\endextract +\zendextract \end{music} \noindent This was coded as: @@ -2809,181 +3132,190 @@ Icking}.} specifying \keyindex{dotted} just before slur initiation. \NOTes\hu g\en \end{verbatim}\end{quote} - \subsection{*Modifying slur properties} + \subsubsection{Modifying font-based slur properties} Several macros are provided to modify the shape of slurs already initiated. -These macros must be coded before the slur termination. Note that only -compound slurs can be modified. Hence, calling any modification macro forces -the slur type to be compound. - \subsubsection{*Changing the rise or fall} - By default, the arch of a slur rises and falls from its original height by -three times the vertical note spacing. This can be changed using the macro +These macros must be coded right before the slur \ital{termination}. Invoking +any of the macros described in this section will force the slur to be compound. + +By default, the midpoint of a font-based slur is three \verb|\internote|s +above or below a line between its ends. This can be changed using the macro \keyindex{midslur}~$h$ where $h$ is the revised vertical displacement. For -example, \verb|\midslur{6}| coded before \verb|\tslur| causes an upper slur to +example, \verb|\midslur6| coded right before \verb|\tslur| causes an upper slur to rise to a maximum height of \verb|6\internote| above the starting position. -Note that \verb|\midslur| must be coded {\em immediately} before the slur -termination (eg, \verb|\tslur|). Coding \verb|\midslur| before setting a -simple slur causes problems and should be avoided.\\[20pt] +For example, -\begin{music} +\begin{music}\nostartrule \startextract \NOtes\multnoteskip8\isluru0g\ql g\en \notes\tslur0g\ql g\en -\endextract +\zendextract \startextract \NOtes\multnoteskip8\isluru0g\ql g\en \notes\midslur7\tslur0g\ql g\en -\endextract +\zendextract \startextract \NOtes\multnoteskip8\isluru2g\ql g\en \notes\midslur{11}\tslur2g\ql g\en -\endextract +\zendextract \end{music} -This was coded as: +\noindent was coded as \begin{quote}\begin{verbatim} -\startextract \NOtes\multnoteskip8\isluru0g\ql g\en \notes\tslur0g\ql g\en -\endextract -\startextract \NOtes\multnoteskip8\isluru0g\ql g\en \notes\midslur7\tslur0g\ql g\en -\endextract -\startextract \NOtes\multnoteskip8\isluru2g\ql g\en \notes\midslur{11}\tslur2g\ql g\en -\endextract \end{verbatim}\end{quote} - \subsubsection{*Changing the curvature} -The degree of curvature depends primarily on the initial and terminal -gradient of the slur, relative to its mean slope. The macro -\keyindex{curve}~$hij$ allows these to be modified. The first parameter $h$ -is the vertical deviation as for \verb|\midslur| described above. The second -parameter $i$ sets the initial gradient, while the third parameter $j$ sets -the -final gradient. The latter parameters are defined as the horizontal distance -required to attain maximum vertical deviation. Thus smaller numbers for $i$ + +The macro \keyindex{curve}$hij$ allows more precise control over the shape +of a slur or tie. The first parameter $h$ +is the vertical deviation and it works exactly like the sole parameter of +\verb|\midslur| described above. The second and +third parameters $i$ and $j$ set the initial and final gradient respectively. +They are defined as the horizontal distance required to attain maximum +vertical deviation. Thus smaller numbers for $i$ and $j$ lead to more extreme gradients. The default setting is \verb|\curve344|. Hence, coding \verb|\curve322| doubles the initial and final gradient relative to the default. As with \verb|\midslur|, \verb|\curve| must be coded {\em immediately} before -the slur termination. -Likewise, coding \verb|\curve| before -a simple slur causes problems and should be avoided. - -The example below illustrates the use of \verb|\curve| more clearly. - - +the slur termination. The example below illustrates the use of \verb|\curve|. -\begin{music} +\begin{music}\nostartrule \startextract \NOtes\multnoteskip8\itieu0g\ql g\en \notes\ttie0\ql g\en -\endextract +\zendextract \startextract \NOtes\multnoteskip8\itieu1g\ql g\en \notes\curve 322\ttie1\ql g\en -\endextract +\zendextract \startextract \NOtes\multnoteskip8\itieu2g\ql g\en \notes\curve 111\ttie2\ql g\en -\endextract +\zendextract \end{music} -This was coded as: +\noindent This was coded as \begin{quote}\begin{verbatim} -\startextract \NOtes\multnoteskip8\itieu0g\ql g\en \notes\ttie0\ql g\en -\endextract +\zendextract \startextract \NOtes\multnoteskip8\itieu1g\ql g\en \notes\curve 322\ttie1\ql g\en -\endextract +\zendextract \startextract \NOtes\multnoteskip8\itieu2g\ql g\en \notes\curve 111\ttie2\ql g\en -\endextract \end{verbatim}\end{quote} - %\check - - - \subsubsection{*Breaking slurs across a line} Two macros are provided to control the behaviour of slurs which extend across line breaks. Normally, the part of the slur before the line break is -treated as a tie. This can be changed using \keyindex{breakslur}~$np$, +treated as a tie. This can be changed using \keyindex{breakslur}\enpee, which sets the termination height of -the broken slur at the line break to pitch $p$, for slur reference number $n$. +the broken slur at the line break to pitch $p$, for slur number $n$. After the line break, the slur is normally resumed at the initial pitch -reference, the one coded in \verb|\islur|. To change this, the macro -\keyindex{Liftslur}~$np$ may be used. Here $n$ is again the slur reference -number and $p$ is the change in height relative to the initialization height. +reference, i.e., the one coded in \verb|\islur|. To change this, the macro +\keyindex{Liftslur}\verb|{|$n$\verb|}{|$h$\verb|}| may be used. +Here $n$ is again the slur reference +number and $h$ is the change in height relative to the initialization height. This macro is normally used following line breaks, in which case it is best coded using the \verb|\atnextline| macro. For example, coding \verb|\def\atnextline{\Liftslur06}| raises the continuation of slur zero by \verb|6\internote| relative to its initialization height. -These macros are illustrated by the following example. -%% -% Example -%% - %\check +The following example illustrates the use of the macros for broken slurs: + +\begin{minipage}[t]{75mm} +Default, without adjustments:\\ +\begin{music} +\hsize=50mm +\generalmeter{\meterfrac24}% +\parindent 0pt\staffbotmarg0pt% +% +%\interstaff{14\internote}% +% +\startpiece\bigaccid +\Notes\ibsluru1b\qu b\qu g\en\bar +\Notes\qu{'c!}\tslur1f\qu f\en +\mulooseness1\Endpiece +\end{music} +\begin{verbatim} +\Notes\ibsluru1b\qu b\qu g\en\bar +\Notes\qu{'c!}\tslur1f\qu f\en +\end{verbatim} +\end{minipage}% +\begin{minipage}[t]{75mm} +With~\verb|\Liftslur|~and~\verb|\breakslur|~:\\ +\begin{music} +\hsize=50mm +\generalmeter{\meterfrac24}% +\parindent 0pt\staffbotmarg0pt% +% +%\interstaff{14\internote}% +% +\startpiece\bigaccid +\def\atnextline{\Liftslur17}% +\Notes\ibsluru1b\qu b\qu g\breakslur1g\en\bar +\Notes\qu{'c!}\tslur1f\qu f\en +\mulooseness1\Endpiece +\end{music} +\begin{verbatim} +\def\atnextline{\Liftslur17}% +\Notes\ibsluru1b\qu b\qu g% +\breakslur1g\en\bar +\Notes\qu{'c!}\tslur1f\qu f\en +\end{verbatim} +\end{minipage}\medskip - \subsubsection{*Inverting slur termination} Occasionally in keyboard works one needs to begin a slur in one -stave but end it in another. This can be done using the macro -\keyindex{invertslur}~$n$ which is best described by reference to the example +staff but end it in another. This can be done using the macro +\keyindex{invertslur}\onen\ which is best described by +reference to the example shown below. % Finding the final pitch is try and error, sorry, no way out. \begin{music} \setstaffs1{2} -\setclef1\bass +\setclef1\bass\interstaff{10.5} \startextract \NOtes\multnoteskip5\isluru0a\ql a\en -\notes\invertslur0\curve311\tslur0g|\qu d\en +\notes\invertslur0\curve311\tslur0j|\qu d\en \NOtes\multnoteskip{10}\isluru0a\ql a\en -\notes\invertslur0\curve333\tslur0g|\qu d\en -\endextract +\notes\invertslur0\curve333\tslur0j|\qu d\en +\zendextract \end{music} -This was coded as: +\noindent This was coded as \begin{quote}\begin{verbatim} -\setstaffs1{2} -\setclef1{\bass} -\startextract \NOtes\multnoteskip5\isluru0a\ql a\en \notes\invertslur0\curve311\tslur0g|\qu d\en \NOtes\multnoteskip{10}\isluru0a\ql a\en \notes\invertslur0\curve333\tslur0g|\qu d\en -\endextract \end{verbatim}\end{quote} - \begin{remark} - Slur inversion is achieved at a place where its slope ise zero~; therefore it -only works with ascending slurs started with \verb|\isluru|, and with +\noindent Slur inversion as just described takes effect where the slope is zero; therefore it +only works with ascending slurs that were started with \verb|\isluru|, and with descending slurs started with \verb|\islurd|. Otherwise no horizontal place can be found and the result is erratic. - This second situation can be solved manually, stopping the slur at a -reasonable place with \verb|\tslur| and restarting in the other sense at the -same place. Stopping and restarting obviously refer to virtual note pitches (a -vertical position without actual note) which should be adjusted to have the -minimum discontinuity. - \end{remark} - - To make this drawing easier, three commands have been provided: - \begin{itemize} - \item \keyindex{Tslurbreak}$np$ stops slur number $n$ exactly at pitch $p$, +A different approach removes this restriction. The idea is to stop the slur at a +the desired inversion point and restart it in the other sense at the +same place. The commands to do this are as follows: + \begin{itemize}\setlength{\itemsep}{0ex} + \item \keyindex{Tslurbreak}\enpee~stops slur number $n$ \ital{exactly} at pitch $p$, not above or below the virtual note head. - \item \keyindex{Islurubreak}$np$ restarts an upper slur at the same position, + \item \keyindex{Islurubreak}\enpee~restarts an upper slur at the same position, not above a virtual note head. - \item \keyindex{Islurdbreak}$np$ restarts an lower slur at the same position, + \item \keyindex{Islurdbreak}\enpee~restarts a lower slur at the same position, not below a virtual note head. \end{itemize} - Thus, the following pattern - \begin{music} +\noindent The vertical position may have to be adjusted to minimize any discontinuity +in the slope. For example, the following pattern + + \begin{music}\nostartrule \setclef1\treble \startextract \NOTes\multnoteskip 3\isluru0a\ql a\en @@ -2992,43 +3324,37 @@ not below a virtual note head. \NOTes\multnoteskip 3\islurd0a\ql a\en \NOTes\multnoteskip 3\Tslurbreak0d\Islurubreak0d\sk\en \Notes\tslur0h\qu h\en -\endextract +\zendextract \end{music} -was coded as +\noindent was coded as \begin{quote}\begin{verbatim} - \begin{music} -\setclef1\treble -\startextract +\begin{music}\nostartrule \NOTes\multnoteskip 3\isluru0a\ql a\en \NOTes\multnoteskip 3\Tslurbreak0d\Islurdbreak0d\sk\en \Notes\tslur0h\qu h\en \NOTes\multnoteskip 3\islurd0a\ql a\en \NOTes\multnoteskip 3\Tslurbreak0d\Islurubreak0d\sk\en \Notes\tslur0h\qu h\en -\endextract \end{music} -\end{verbatim}\end{quote} - - +\end{verbatim}\end{quote} - - \subsection{Simple slurs} -Simple slurs and ties have the advantage -of optimal aesthetics and simple coding, but are limited in length to 68pt +\ital{Simple} slurs and ties have advantages in some cases: (1) They will +always have the best possible shape, and (2) if \verb|\noteskip| doesn't +change from start to finish, they are easier to code. But they have drawbacks +as well: (1) They are limited in length to 68pt for slurs and 220pt for -ties. Also, the maximum vertical extent of simple slurs is 8 times the -internote spacing, and the slurs may not extend across a line break. +ties, (2) their maximum vertical extent is \verb|8\internote|, and (3) they +may not extend across a line break. Despite all these limitations, simple slurs are extremely useful in many applications where the slurs are short and contained within a bar. -Simple slurs extend to the right of the note immediately following. -Hence they must be coded {\em before} the note at which the slur begins. -The primary macro call is -\keyindex{slur}~$p_1p_2sl$ +Simple slurs must be coded {\em before} the note on which the slur begins. +The primary macro is +\keyindex{slur}\verb|{|$p_1$\verb|}{|$p_2$\verb|}|$sl$ where $p_1$ and $p_2$ are respectively the initial and final pitches, -$s$ is the sense, either {\tt u} or {\tt d}, and $l$ is the length, -in units of the current value of {\tt noteskip}. -Thus, thirds slured in pairs can be coded: +$s$ is the sense (either ``{\tt u}'' or ``{\tt d}''), and $l$ is the length, +in {\tt noteskip}s. +Thus, thirds slured in pairs can be coded %\check @@ -3040,9 +3366,9 @@ Thus, thirds slured in pairs can be coded: \NOtes\slur{'d}bu1\ql{db}\en \NOtes\slur{'c}au1\ql{ca}\en \end{verbatim}\end{quote} -which yields: +which yields -\begin{music} +\begin{music}\nostartrule \startextract \NOtes\slur ced1\qu{ce}\en \NOtes\slur dfd1\qu{df}\en @@ -3050,241 +3376,435 @@ which yields: \NOtes\slur{'e}cu1\ql{ec}\en \NOtes\slur{'d}bu1\ql{db}\en \NOtes\slur{'c}au1\ql{ca}\en -\endextract +\zendextract \end{music} %% -Similarly, ties may be set using -\keyindex{tie}~$psl$ where $p$ is the (single) pitch, and the other -parameters are as described above. - -Variants on these macros are provided to change the slur length -and vertical offset relative to the starting note, as follows. -\begin{itemize} - \item \keyindex{sslur}~$p_1p_2sl$, which sets a `short' slur, - designed for the case when a slur is required to link notes which - form part of a chord (see \verb|\isslur| above). - The macro \keyindex{stie}~$psl$ sets analagous ties. -%! \item \keyindex{bslur}~$p_1p_2sl$, which sets a `beam' slur, raised or -%! lowered so that the slur links the ends of note stems rather than -%! note heads. -\end{itemize} - %\check - \subsection{Restrictions} -Generation of some of the slur fonts is problematic for \MF. -In particular, the long ties tend to exceed \MF's -maximum dimension for high resolution printers. However, for normal 300 dpi -printers there is no problem. A solution to this limitation is planned -for Postscript\raise1.5ex\hbox{\small\copyright} printers using -DVIPS \verb|\special| commands. - -\section{Bars} - \subsection{Bars and spacing} - Ordinary \ital{bars} are coded using the macro \keyindex{bar}. Its drawback -is that it does not differ from \verb|\bar| which is already defined in -\TeX's mathematical mode. \index{bar (original meaning)@{\Bslash bar} -\ital{(original meaning)}} Therefore, inside \verb|\startpiece...\endpiece| -\ital{our} \verb|\bar| means a musician \ital{bar}\footnote{\ital{Mesure} in -French, \ital{Takt} in German.} and outside, it keeps its original meaning. -If you \ital{really} need the original \verb|\bar| inside, you can say -\verb|\endcatcodesmusic...\bar...\catcodesmusic|. - %\check +There are similar commands to force simple versions of the other +variants of font-based slurs and ties. Simple ties may be set using +\keyindex{tie}\verb|{|$p$\verb|}|$sl$ (only one pitch is needed). +Simple short slurs and short ties can be forced with the macros +\keyindex{sslur}\verb|{|$p_1$\verb|}{|$p_2$\verb|}|$sl$ and +\keyindex{stie}\verb|{|$p$\verb|}|$sl$ respectively. Finally, +simple beam slurs can be forced with +\keyindex{bslur}$s$\verb|{|$p_1$\verb|}{|$p_2$\verb|}|$l$. - \subsection{Bar numbering} -Unless otherwise specified, \index{bar numbering}bars are -numbered. This is a good means of finding errors provided that the \musixtex\ -user has put comments in his source text recording the (expected) bar number. -However, this can look unpleasant for final outputs, since the habit is to -number bars only each other five or ten bars. This is not a serious problem -since the frequency of bar numbering is defined as: + \subsubsection{Limitations of font-based slurs} + The change in altitude between slur initiation and slur termination is limited to +16\verb|\Internote|. Thus unexpected vertical gaps can appear, as seen in - \verb|\def|\keyindex{freqbarno}\verb|{1}| + \begin{music}\nostartrule +\instrumentnumber{1} +\generalmeter{\meterfrac34} +\startextract\NOTes\multnoteskip3\isluru0c\ql c\tslur0j\ql j\enotes + \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0n\ql n\enotes\zendextract -If you replace the {\tt1} by {\tt5}, bar numbering will occur each other five -bars. You can also inhibit any bar number\footnote{default inside this manual} -printing by telling: +\startextract\NOTes\multnoteskip3\isluru0c\ql c\tslur0s\ql s\enotes + \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0z\ql z\enotes\zendextract + \end{music} + \noindent whose coding was + \begin{quote}\begin{verbatim} +\NOTes\multnoteskip3\isluru0c\ql c\tslur0j\ql j\enotes + \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0n\ql n\enotes +\NOTes\multnoteskip3\isluru0c\ql c\tslur0s\ql s\enotes + \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0z\ql z\enotes + \end{music} + \end{verbatim}\end{quote} -\keyindex{nobarnumbers} +Furthermore, if the slope becomes too steep, even worse results can occur, such as -\noindent If you want to restore bar numbering after \verb|\nobarnumbers|, -you can say + \begin{music}\nostartrule +\instrumentnumber{1} +\generalmeter{\meterfrac34} +\startextract\NOTes\isluru0c\ql c\enotes\notes\tslur0j\ql j\enotes + \bar\NOTes\isluru0c\ql c\enotes\notes\tslur0n\ql n\enotes + \NOTes\isluru0c\ql c\enotes\notes\tslur0s\ql s\enotes + \bar\NOTes\isluru0c\ql c\enotes\notes\tslur0z\ql z\enotes + \zendextract + \end{music} -\keyindex{barnumbers} +Another limitation of font-based slurs crops up when one attempts to +generate bitmapped versions for high-resolution printers: the characters +for long ties can exceed \MF's maximum capacity. + + \subsection{Type K postscript slurs}\label{PostscriptSlurs} +All of the aforementioned limitations of font-based slurs can be circumvented +by using Type~K postscript slurs\footnote{``K'' stands for Stanislav Kneifl, +the developer of the Type K postscript slur package.}. As well as slurs, the package includes +ties and crescendos (see section \ref{sec:crescnd}). +Its use is very similar to font-based slurs, and in fact identical if only +the elementary slur and tie initiation and termination macros are used. + +In order to use Type K postscript slurs, you must first place \texttt{musixps.tex} +anywhere \TeX\ can find it. You must also place \texttt{psslurs.pro} +somewhere that \texttt{dvips} can find it. + +The \index{mxsk font}\texttt{mxsk} font is required for ``half ties,'' which +are special symbols that are used by default for the second portion of a tie +that crosses a line break. If you like +this treatment you must install the font in your \TeX\ system. However, perfectly +acceptable line-breaking ties will appear if you invoke \keyindex{nohalfties}, +and then you will not have to install this font. + +Once the software mentioned in the prior two paragraphs is emplaced and the +\TeX\ filename database is refreshed, the Type K package can be +invoked by including the command \verb|\input musixps| +near the beginning of your source file. +The resulting dvi file should then be converted into postscript using \textbf{dvips}. +If desired, a PDF file can then be generated with \textbf{ps2pdf}, \textbf{ghostscript}, +\textbf{Adobe Acrobat} (see chapter \ref{installation} for more information on this). + +Two minor inconveniences with Type K postscript slurs are that (1) they won't appear +in any standard dvi previewer, and (2) they won't appear in PDF files generated with +\textbf{pdftex}. The former limitation can be circumvented by using a postscript +viewer such as \textbf{GSview}. The latter simply requires that you create an intermediate +postscript file with \textbf{dvips}, then make the PDF with any of the software +mentioned above. + +\subsubsection{Initiating and terminating type K postscript slurs} + +Basic usage of type K slurs is the same as for font-based slurs. To initiate one, +use for example \verb|\isluru0g| to start an upper slur with ID 0 above a virtual note +at pitch level {\tt g}. To terminate one, use a command like +\verb|\tslur0i| which terminates the slur with ID 0 on a +virtual note at pitch level {\tt i}. +Both types of commands are non-spacing and must precede the first or last +note under the slur. + +You can shift the starting or ending point slightly to the left +or right by substituting one of the commands \keyindex{ilsluru}, +\keyindex{ilslurd}, \keyindex{irsluru}, +\keyindex{irslurd}, \keyindex{trslur} or \keyindex{tlslur}. + +You can control the shape of Type K slurs with variants of +the termination command. To make the slur a bit flatter than default use +\keyindex{tfslur}0f; a bit higher, \keyindex{thslur}0f; higher still, +\keyindex{tHslur}0f; or +even higher, \keyindex{tHHslur}0f. These commands have an effect like +\keyindex{midslur} does for font-based slurs. + +All combinations of the shifting and curvature variants are allowed, +e.g.\ \verb|\trHHslur|. + +The following examples demonstrate how much better the type K slurs perform +in the extreme situations of the prior two typeset examples. The coding is +exactly the same as above except that \verb|\input musixps| has been added: +\begin{quote}\begin{verbatim} +\begin{music}\nostartrule +\input musixps +\startextract\NOTes\multnoteskip3\isluru0c\ql c\tslur0s\ql s\enotes +.... +\end{verbatim}\end{quote} - The bar counter is also accessible, its name is \keyindex{barno}. -You can change it without any dramatic consequence. +%\begin{center} +%\includegraphics[scale=1]{./mxdexamples/pslurvgap.eps} +%\end{center} -Sometimes there is need for to start with a \verb|\barno| value which differs -from 1. Perhaps the piece starts with an \ital{upbeat}, then you can code +\begin{music}\nostartrule +\input musixps +\instrumentnumber{1} +\generalmeter{\meterfrac34} +\startextract\NOTes\multnoteskip3\isluru0c\ql c\tslur0j\ql j\enotes + \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0n\ql n\enotes\zendextract -\keyindex{startbarno}\verb|=0| +\startextract\NOTes\multnoteskip3\isluru0c\ql c\tslur0s\ql s\enotes + \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0z\ql z\enotes\zendextract +% \end{music} -\noindent in front of \verb|\startpiece|; or you may want to typeset only an -excerpt starting for example with bar number -198, then you can code \verb|\startbarno=198|. Pay attention because -saying \verb|\startbarno=|$n$ has a global meaning. So if you want to -\verb|\input| several pieces whose starting bar numbers differ, you have to -adjust the value of \verb|\startbarno| each time.\label{startbarno} +%\begin{music}\nostartrule +%\input smallmusixpsx +%\instrumentnumber{1} +%\generalmeter{\meterfrac34} +\startextract +\NOTes\isluru0c\ql c\enotes\notes\tslur0j\ql j\enotes\bar +\NOTes\isluru0c\ql c\enotes\notes\tslur0n\ql n\enotes +\NOTes\isluru0c\ql c\enotes\notes\tslur0s\ql s\enotes\bar +\NOTes\isluru0c\ql c\enotes\notes\tslur0z\ql z\enotes +\zendextract + \end{music} - %\check -The best compromise between information of the bar number and a pleasant -lookout is the command \keyindex{systemnumbers} which draws the bar numbers -only at the left top of every system (or staff? then the command will -be renamed to \verb|\staffnumbers| or \verb|\staffbarnumbers|). +For maximal control over type K slurs, you can use one of the commands +\keyindex{iSlur}~$npvh$ and +\keyindex{tSlur}~$npvhca$, where the characters in +$npvhca$ respectively stand for ID number, height, vertical offset, horizontal offset, +curvature, and angularity. +All offsets are in \verb|internote|, and the slur direction is determined +by the sign of the vertical offset. See the comments in \verb|musixps.tex| +for precise definitions of the other parameters. Examples of permissible forms for +these commands are +\verb|iSlur0c11| and \verb|tSlur0{!d}11{.2}0|. -You can influence the height of the system numbers by coding +The next example shows how you can use \verb|iSlur| in difficult +circumstances: -\verb|\def|\keyindex{raisebarno}\verb|{|\ital{any \TeX~dimension}\verb|}| +\begin{music}\nostartrule +\input musixps +\nobarnumbers +\generalsignature1% +\generalmeter{\meterfrac{2}{4}}% +\nostartrule +\startextract +\NOtes\zchar{-8}{\Bslash irslur...\Bslash tlslur}\irslurd0{'b}\zhl b\sk\zq{!e}\qu{'c}\en\bar +\NOtes\zh{'d}\zhu{`f}\off{7.2pt}\tlslur0{'b}\ql b\ql b\en\bar +% +\NOtes\zchar{-8}{\Bslash irslur...\Bslash tlfslur}\irslurd0{'b}\zhl b\sk\zq{!e}\qu{'c}\en\bar +\NOtes\zh{'d}\zhu{`f}\off{7.2pt}\tlfslur0{'b}\ql b\ql b\en\bar +% +\NOtes\zchar{-8}{\Bslash iSlur...\Bslash tSlur}\iSlur0{'b}{-.5}3\zhl b\sk\zq{!e}\qu{'c}\en\bar +\NOtes\zh{'d}\zhu{`f}\off{7.2pt}\tSlur0{'b}{.5}{-1}{.3}0\ql b\ql b\en +\zendextract + \end{music} +\noindent with this coding: -\noindent whose default is set to \verb|4\internote| to fit above -a violin clef. You can influence its horizontal position with +\begin{quote}\begin{verbatim} +\NOtes\irslurd0{'b}\zhl b\sk\zq{!e}\qu{'c}\en\bar +\NOtes\zh{'d}\zhu{`f}\off{7.2pt}\tlslur0{'b}\ql b\ql b\en\bar +% +\NOtes\irslurd0{'b}\zhl b\sk\zq{!e}\qu{'c}\en\bar +\NOtes\zh{'d}\zhu{`f}\off{7.2pt}\tlfslur0{'b}\ql b\ql b\en\bar +% +\NOtes\iSlur0{'b}{-.5}3\zhl b\sk\zq{!e}\qu{'c}\en\bar +\NOtes\zh{'d}\zhu{`f}\off{7.2pt}\tSlur0{'b}{.5}{-1}{.3}0\ql b\ql b\en +\end{verbatim}\end{quote} -\verb|\def|\keyindex{shiftbarno}\verb|{|\ital{any \TeX~dimension}\verb|}| -\noindent which default value is \verb|0pt|. If you don't like the box around -the bar number or its font, you can redefine the macro which sets the system -bar number; its default is +The ID number for a slur, tie or crescendo should +normally range from 0 to 9. If it is bigger +than nine but less than 15, +the object can cross a line break but not a page break. If bigger than +14 but less than $2^{31}$, it can't be broken at all, + nor can a slur termination be positioned at a beam with + e.g.~\verb|\tbsluru{17684}{16}|; however \verb|\ibsluru{152867}{16}| is OK. -\verb|\def|\keyindex{writebarno}% - \verb|{\boxit{\eightbf\the\barno\barnoadd}}| +It's also OK to have opened simultaneously a slur, tie and crescendo all +with the same ID, or a slur, tie and decrescendo, but not a crescendo and +decrescendo. - \noindent where \keyindex{boxit} is a utility macro provided by \musixtex{} -whose purpose is to enclose its argument in a \raise-\boxitsep\hbox{\boxit{box}}. +\def\emen{{\tt\char123}$n${\tt\char125\char123}$m${\tt\char125}} +\subsubsection{Type K postscript beam slurs} +Type K beam slurs are defined differently than the font-based ones: +They require as parameters both a slur ID number $n$ and a beam ID number $m$, +but that's all. The commands are +\keyindex{iBsluru}\emen, \keyindex{iBslurd}\emen, and +\keyindex{tBslur}\emen. +They must be placed \ital{after} the beam initiation or termination command. +Type K slurs may start on one beam and end on another. +For example, -\medskip -\begin{music} -\let\extractline\hbox -\startbarno=36 -\hbox to \hsize{% -\hss - \raise20pt\hbox{(a) }% - \systemnumbers\startextract - \Notes\wh g\en - \zendextract -\hss - \def\writebarno{\tenrm\the\barno\barnoadd}% - \def\raisebarno{2\internote}% - \def\shiftbarno{2.5\Interligne}% - \raise20pt\hbox{(b) }% - \systemnumbers\startextract - \Notes\wh g\en - \zendextract -\hss - \def\writebarno{\llap{\tenbf\the\barno\barnoadd}}% - \def\raisebarno{2\internote}% - \def\shiftbarno{1.3\Interligne}% - \raise20pt\hbox{(c) }% - \systemnumbers\startextract - \Notes\wh g\en - \zendextract -\hss} -\end{music} -which was coded as -\begin{itemize} - \item[(a)] (default) - \item[(b)] - \begin{verbatim} -\def\writebarno{\tenrm\the\barno\barnoadd}% -\def\raisebarno{2\internote}% -\def\shiftbarno{2.5\Interligne}% - \end{verbatim} - \item[(c)] - \begin{verbatim} -\def\writebarno{\llap{\tenbf\the\barno\barnoadd}}% -\def\raisebarno{2\internote}% -\def\shiftbarno{1.3\Interligne}% - \end{verbatim} -\end{itemize} -If the previous line does not stop with a bar rule to the next system bar number -is added the \keyindex{writezbarno} whose default setting is the lower -character {\tt'a'}. If you want a {\tt'+}' instead, you can say +\begin{quote}\begin{verbatim} +\Notes\ibu0i0\iBsluru00\qb0{eh}\tbu0\qb0i\ibu0j0\qb0{jl}\tbu0% + \slurtext{6}\tBslur00\qb0e\en +\end{verbatim}\end{quote} -\verb|\def|\keyindex{writezbarno}\verb|{+}| - - Besides, you can change the font and anything in the format of current bar -numbers by changing the original definition of the macro -\keyindex{writethebarno} or the font in \keyindex{fontbarno}, where the -defaults are: +\noindent produces +%\begin{center} +%\includegraphics[scale=1]{./mxdexamples/psbeamslur.eps} +%\end{center} + +\begin{music}\nostartrule\input musixps\startextract +\Notes\ibu0i0\iBsluru00\qb0{eh}\tbu0\qb0i\ibu0j0\qb0{jl}\tbu0% + \slurtext{6}\tBslur00\qb0e\en +\zendextract\end{music} + +The above example also illustrates the use of the macro +\keyindex{slurtext}. It has just one parameter---some text to be +printed---and it centers it just above or below the midpoint of +the next slur that is closed. +This works only for non-breaking slurs; if the slur is broken, +the text +disappears\footnote{If you insist on viewing files with a dvi viewer despite the +fact that Type K slurs will not be visible, you may also find that +figures emplaced with \keyindex{slurtext} will appear at the end of the +slur rather than the middle.}. +%The placing of the slur text is done with a very dirty postscript +%hack, so I am not really sure that everything you want to typeset +%will be placed at the correct position (if you are interested, see +%the end of psslurs.pro for details). If you find something that won't +%work, let me know. + +% DAS: why do we need this ??? +%\paragraph{General coding for postscript slurs and ties of type K.} +%This can be done by: +%\begin{quote}\begin{verbatim} +%\i[h.shift]slur[u|d]{slur ID}{note height} +%\t[h.shift][slur height]slur{slur ID}{note height} +%\iBslur[u|d]{slur ID}{beam ID} +%\tB[slur.height]slur{slur ID}{beam ID} +%\end{verbatim}\end{quote} +%\noindent where h.shift can be 'l', 'r' or nothing +%and slur.height can be 'f', nothing, 'h', 'H' or 'HH' +% +%Example: \keyindex{tlfslur} means 'terminate left flat slur'. +% +% +%There are also simple slurs with same invocation and parameters as the +%original ones. + +\subsubsection{Type K postscript ties} +All of the foregoing Type K slur commands have counterparts for ties. Simply +replace ``\verb|slur|'' with ``\verb|tie|'', and for terminations omit +the pitch parameter. Type K ties not only are positioned differently by +default, but they also have different shapes than slurs. + +\subsubsection{Dotted type K slurs and ties.}%please check the capital D(otted) +A slur or tie can be made dotted simply by entering \keyindex{dotted} anywhere before +the beginning of the slur or tie. Only the first slur or tie following this +command will be affected. On the other hand, if you enter \keyindex{Dotted}, then ALL +slurs and ties from this point forward will be dotted until you say +\keyindex{Solid}. Furthermore, inside \verb|\Dotted...\Solid| you can make any individual +slur or tie solid saying \verb|\solid| before its beginning. + +\subsubsection{Avoiding collisions of Type K slurs and ties with staff lines.} +In postscript it is possible to do some computations which would be very hard +to implement directly in TeX. Type K slurs can use this facility to check whether +the curve of a slur or tie is anywhere nearly tangent to any staff line, and if +so, to adjust +the altitude of the curve to avoid the collision. By default this feature is turned +on. +You can disable it either +globally (\keyindex{Nosluradjust}, \keyindex{Notieadjust}) or locally +(\keyindex{nosluradjust}, \keyindex{notieadjust}), and you can also turn it +back on globally (\keyindex{Sluradjust}, +\keyindex{Tieadjust}) or locally (\keyindex{sluradjust}, \keyindex{tieadjust}). +Here ``locally'' +means that the command will only affect the next slur or tie to be opened. + + +\subsubsection{Line breaking slurs and ties} +Tyle K slurs and ties (and crescendos) going across line breaks are handled +automatically. In fact they can go over more lines than two (this is +true also for ties, though it would be somewhat strange). + +There is a switch \verb|\ifslopebrkslurs| that controls the default +height of the end point +of the first segment of all broken slurs. By default the height will be +the same as the beginning. To have it raised by \verb|3\internote|, simply +issue the command \keyindex{slopebrkslurstrue}. To revert to the default, +use \keyindex{slopebrkslursfalse}. + +To locally override the default height of the end of the first segment, +use the command \keyindex{breakslur}\enpee, +which sets the height for slur number $n$ to pitch $p$, just like with +font-based slurs. + +You can raise or lower the starting point of the second segment of a broken slur +with the command \keyindex{liftslur}\verb|{|$n$\verb|}{|$h$\verb|}|, with +parameters slur ID and relative offset in +\verb|\internote|s measured from the slur beginning. Its effect is +the same as \keyindex{Liftslur} for font-based slurs, except it is not +necessary to code +it within \verb|\atnextstaff{}|, just anywhere inside the slur. + +As already mentioned, anything with ID$<$10 is broken fully automatically, but +you should be careful about slurs, ties and crescendos with 10$\le$ID$<$15. +These cannot cross page breaks, although they can cross line breaks. + +If the second segment of a broken tie is less than 15pt long, then by +default it will have a special shape which begins horizontally. These shapes are +called \ital{half ties} and are contained in the font \index{mxsk font}\verb|mxsk|. +Of course if they are to be used, the font files must be integrated into the +\TeX\ installation. Their use can be turned off with \keyindex{nohalfties} +and back on with \keyindex{halfties}. + +%\paragraph{Backwards compatibility.} +%There are several ``aliases'' which allow to use the old, bitmapped slur +%commands for PS slurs without any change. There are however a few differences: +%the \keyindex{invertslur} is not implemented yet and +%the \keyindex{curve} and \keyindex{midslur} macros have no effect. + +%\paragraph{Memory requirements.} +\subsubsection{A few final technical details} +Each \verb|\i...| and \verb|\t...| +produces a \verb|\special| command, which must be stored in TeX's main memory. +Therefore, if too many slurs occur in one page, some memory problems could +occur. The only solutions are to use Big\TeX\ (if you aren't already), or to use +font-based slurs. + +Type K slurs need the postscript header file +\index{psslurs.pro}\texttt{psslurs.pro} to be included in the +output postscript file. This is made to happen by the \TeX\ command +\verb|\special{header=psslurs.pro}|, which is automatically +included when you \verb|\input musixps|. So normally this is not +of concern. However if you wish to extract a subset of pages from +the master \verb|dvi| file using \index{dvidvi}\texttt{dvidvi}, then +you have three options: (1)~include the first page in the subset, +(2)~manually issue the +\verb|\special| command in the \TeX\ source for the first page of the subset, or +(3)~use the option \texttt{-h psslurs.pro} when you run \texttt{dvips}. + + +\section{Bar Lines} + \subsection{Single, double, and invisible bar lines}\label{doublebars} +The usual macro to typeset a single bar line is \keyindex{bar}. +There is a possibility of +confusion with a command in \TeX's math mode that has exactly the same name. +However, there will generally be no problem, because inside +\verb|\startpiece...\endpiece|, +\verb|\bar| will take the musical meaning, while outside, it will have the +mathematical one. +If for some reason you need the math \verb|\bar| inside, you can use +\verb|\endcatcodesmusic...\bar...\catcodesmusic|. - \verb|\def\writethebarno{\fontbarno\the\barno\kernm\qn@width}| - - \verb|\def\fontbarno{\it}| +To typeset a double bar line with two thin rules, use \keyindex{doublebar}. You could +also issue \keyindex{setdoublebar} to cause the next \verb|\bar| (or +\keyindex{stoppiece}, \keyindex{alaligne}, or \keyindex{alapage}) to be replaced +by a double bar. +There is no specific command to print a thin-thick double bar line, but +\keyindex{setdoubleBAR} will cause one in the same cases where +\verb|\setdoublebar| would cause a thin-thin double bar line. - \noindent For example: +To make the next bar line invisible, use \keyindex{setemptybar} before +\verb|\bar|. - \medskip -\begin{music}\barnumbers -\parindent0pt\startpiece -\Notes\Dqbu gh\Dqbl jh\en -\notes\Dqbbu fg\Dqbbl hk\en\bar -\Notes\Tqbu ghi\Tqbl mmj\en -\def\fontbarno{\bf}% -\notes\Tqbbu fgj\Tqbbl njh\en\bar -\Notes\Qqbu ghjh\Qqbl jifh\en\bar -\notes\Qqbbu fgge\Qqbbl jhgi\en\endpiece -\end{music} -\noindent which was simply coded as: -\begin{quote}\begin{verbatim}\barnumbers -\Notes\Dqbu gh\Dqbl jh\en -\notes\Dqbbu fg\Dqbbl hk\en\bar -\Notes\Tqbu ghi\Tqbl mmj\en -\def\fontbarno{\bf}% -\notes\Tqbbu fgj\Tqbbl njh\en\bar -\Notes\Qqbu ghjh\Qqbl jifh\en\bar -\notes\Qqbbu fgge\Qqbbl jhgi\en -\end{verbatim}\end{quote} - %\check +You can suppress the beginning vertical rule with saying \keyindex{nostartrule} +and restore the default with \keyindex{startrule} after that. +\subsection{Simple discoutinuous bar lines} +Normally, bars (as well as double bars, final bars and repeat bars) are +drawn continuously from the bottom of the lowest staff of the +lowest instrument to the top of the highest staff of the uppermost +instrument. However, if desired, they can be made discontinuous between +instruments by saying \keyindex{sepbarrules}. An example of this is given in +%avrb +%{\tt ANGESCAO} (or {\tt ANGESCAM}) example; it has also been used in the +%avre +\texttt{avemaria.tex} in section \ref{avemaria}\label{avemaria2}. + +Continuous bar lines can be restored with \keyindex{stdbarrules}. In +the extension library are some more types of bar rules, mainly for very old +music, see section \ref{otherbars}. +% DAS. Andre, are there some other kinds of bars in an addon? - %\check +\subsection{Elementary asynchronous bar lines} -\noindent Besides, you can suppress the messages of bar numbers on -\verb|stdout| (normally screen) with \keyindex{nobarmessage}. In the same way, -you can suppress the messages abour new lines (new systems) with -\keyindex{nolinemessages}. - %\check + Situations may arise where the bar lines in different instruments are not +aligned with one another. To set this up, first say \verb|\sepbarrules|. +Then use a combination of the following five commands: - \subsection{Full and instrument divided bars} -Normally, bars (as well as double bars, final bars and repeat bars) are -drawn as a continuous line, starting for the bottom of the lower staff of the -lower instrument, and ending at the top of the upper staff of the upper -instrument. However, one may want to have discontinuous bars, that is, one -continuous bar for all the staffs of a unique instrument. This is done by -issuing the command \keyindex{sepbarrules}. An example of this is given in the -{\tt ANGESCAO} (or {\tt ANGESCAM}) example; it has also been used in the -example of section \ref{avemaria}. - - The initial situation can be forced or restored by \keyindex{stdbarrules}. In -the extension library are some more types of bar rules, mainly for very old -music, see \ref{otherbars}. - - \subsection{Instruments with no coherent bar division} - - In some special scores with several instruments, it may happen that distinc -instruments, not only have different meters (e.g. 2/4 and 6/8 to avoid -printing triolet codes for some instrument), but also have bar lines not -synchronized. Obviously, this can be implemented \ital{{\bfseries only if}} -\keyindex{sepbarrules} has been stated. Then, five specific commands can be issued~: - -\begin{itemize} -\item\keyindex{hidebarrule} $n$ hides the bar rule for instrument $n$, until -this is changed by \verb|\showbarrule|~$n$. -\item\keyindex{showbarrule} $n$ stops hiding the bar rule for instrument $n$, until -this is changed by \verb|\hidebarrule|~$n$. -\item\keyindex{Hidebarrule} $n$ hides the bar rule for instrument $n$, only +\begin{itemize}\setlength{\itemsep}{0ex} +\item\keyindex{hidebarrule}\onen~hides the bar rule for instrument $n$, until +this is changed by \verb|\showbarrule|\onen. +\item\keyindex{showbarrule}\onen~stops hiding the bar rule for instrument $n$, +until this is changed by \verb|\hidebarrule|\onen. +\item\keyindex{Hidebarrule}\onen~hides the bar rule for instrument $n$, only for the next bar. -\item\keyindex{Showbarrule} $n$ exceptionally shows the bar rule for instrument $n$, -and then resets intrument $n$ to \verb|Hidebarrule|. +\item\keyindex{Showbarrule}\onen~shows the bar rule for instrument +$n$ once only, +and then resets it \verb|Hidebarrule|. +% +% DAS ??? +% and then resets it to \verb|hidebarrule|. +% \item\keyindex{showallbarrules} resets all defined instruments to -\verb|showbarrule|~$n$. This command is automatically inserted with double +\verb|\showbarrule|\onen. This command is automatically inserted with double bars, final bars and repeats. \end{itemize} -Thus, the following example~: +Thus, this example \begin{music} \instrumentnumber3 @@ -3324,7 +3844,7 @@ Thus, the following example~: \endextract \end{music} -\noindent was obtained with the following coding +\noindent was obtained with the following coding: \begin{quote}\begin{verbatim} \instrumentnumber3 \setmeter3{{\meterfrac{3}{4}}} @@ -3360,301 +3880,860 @@ Thus, the following example~: \Hidebarrule2\bar \NOtes\multnoteskip{.333}\Tqbu fff&\qa f&\qa f\en \setrightrepeat -\endextract +\zendextract \end{verbatim}\end{quote} +\subsection{Dotted, dashed, and more general asynchronous and discontinuous bar lines}\label{musixdbr} -\section{Managing the layout of your score} -\subsection{Line and page breaking}\label{linebreak} +The extension +package \href{http://icking-music-archive.org/software/musixtex/add-ons/musixdbr.tex} +{\underline{\ttxem{musixdbr.tex}}} by Rainer {\sc Dunker} provides commands for +dashed, dotted, and arbitrarily discontinuous bar lines. It supports +individual bar line settings for each instrument, multi-staff instruments, +different sizes of staves, and even different numbers of lines per staff, -Those who usually worked with \musictex\ before must be aware that this has -been deeply changed in \musixtex. All line-breaking decisions\footnote{With -exception of the \musictex\ command {\Bslash autolines}, which is provided in -the file {\tt musixcpt.tex}, see page \pageref{compatibility}.} are done by -the external program \verb|musixflx|. Then you get the most even results when -you insert the fewest \ital{manual} line breaks possible. But sometimes -there is really need for them, e.g. page break should preferably occur when -the musician has one hand free to turn the sheet. +To use the package, you must \verb|\input musixdbr| after \verb|musixtex|, and +execute the macro \keyindex{indivbarrules} which activates individual bar line +processing. Then the following commands are available: -You can force a line break with \keyindex{alaligne} instead of \keyindex{bar}. -In the same way, you can code \keyindex{alapage} to force an \keyindex{eject} -with proper reinitialization of staffs, clefs and signatures. +\begin{itemize}\setlength{\itemsep}{0ex} - %\check +\item \keyindex{sepbarrule}\onen~separates bar lines of instrument $n$ from those of instrument $n-1$ - On the other hand, you may want to forbid line-breaking at a bar, -then you should replace \verb|\bar| with \keyindex{xbar}. - - Conversely, you may want to break a line \ital{not at a bar}\footnote{For -example, you may prefer to turn the page at a place where the pianist has one -hand free, in the middle of a bar.}. This is allowed by \keyindex{zbar} -(optional line break) or forced by \keyindex{zalaligne} or -\keyindex{zalapage}. - -The heavy final double bar of a piece is provided by \keyindex{Endpiece} or -\keyindex{Stoppiece}. If you just want to terminate the text with a simple -bar, you say \keyindex{stoppiece} or \keyindex{endpiece}. If you want to -terminate it without a bar, you code \keyindex{zstoppiece}. - - Once you have stopped the score by any of these means, you can restart it -using \keyindex{contpiece}. If you want to restart indenting the next line -(system) by the dimension \keyindex{parindent}, then you should rather use -\keyindex{Contpiece}, which is recommended when changing the -the number of instruments within a single piece. - - However, neither \verb|\contpiece| nor \verb|\Contpiece| can be used if you -change the signature (i.e. using \keyindex{generalsignature}) between -\verb|stoppiece| and \verb|\contpiece|), since the space used by signatures is -not constant and it has to be taken in account, e.g. by some -\keyindex{changecontext}. In that case, you have to restart your score using -\keyindex{startpiece}, which in turn requires you to save \verb|\barno| to its -furtner starting value \verb|\startbarno| if you do not want it reset at 1, -and to manage the instrument names and/or the \verb|\parindent| if necessary. - - If you want the next vertical bar to be a double bar, you have to -declare \keyindex{doublebar} or \keyindex{setdoublebar} before the -\keyindex{bar} (or the \keyindex{stoppiece} or \keyindex{alaligne} or -\keyindex{alapage}) to be marked with a double thin bar. In the same way you -can declare \keyindex{setdoubleBAR} if you want to have a heavy double bar -(the same as \verb|\Stoppiece|) and even \keyindex{setemptybar} to make the -next \verb|\bar| invisible\footnote{These latter features are given for your -information, but they should be used only in case of emergency.}. +\item \keyindex{condashbarrule}\onen~connects bar lines of instrument $n$ to those of instrument $n-1$ + with a dashed line - %\check +\item \keyindex{condotbarrule}\onen~connects bar lines of instrument $n$ to those of instrument $n-1$ + with a dotted line + +\item \keyindex{conbarrule}\onen~connects bar lines of instrument $n$ to those of instrument $n-1$ + +\item \keyindex{hidebarrule}\onen~hides bar lines of instrument $n$ + +\item \keyindex{showdashbarrule}\onen~dashes bar lines of instrument $n$ + +\item \keyindex{showdotbarrule}\onen~dots bar lines of instrument $n$ + +\item \keyindex{showbarrule}\onen~shows bar lines of instrument $n$ + +\item \keyindex{sepmultibarrule}\onen~separates bar lines within multistaff instrument $n$ + +\item \keyindex{condashmultibarrule}\onen~dashes bar lines between staves of multistaff instrument $n$ + +\item \keyindex{condotmultibarrule}\onen~dots bar lines between staves of multistaff instrument $n$ + +\item \keyindex{conmultibarrule}\onen~ shows bar lines between staves of multistaff instrument $n$ + +\item \keyindex{allbarrules}[\ital{any of the above commands, without numerical parameter}] sets bar +line style for all instruments together. + +\end{itemize} + +Dashing and dotting style may be changed by redefining the macros +\verb|\barlinedash| or \verb|\barlinedots| respectively (see original definitions in \verb|musixdbr.tex|). + +Here is an example of the use of these macros: + +\begin{music} +\input musixdbr + +\instrumentnumber4 \setstaffs23 \setstaffs32 \setlines14\setsize2\tinyvalue +\indivbarrules +\parindent0pt\startextract +%\startpiece +%\scale{2} + % normal barlines + \bar + % separate instrument 2 from 1 + \sepbarrule2 + \notes\en\bar + % barlines on staves + \allbarrules\sepbarrule + \allbarrules\sepmultibarrule + \allbarrules\showbarrule + \NOTes\en\bar + % barlines between staves + \allbarrules\conbarrule + \allbarrules\conmultibarrule + \allbarrules\hidebarrule + \NOTes\en\bar + % dashed barlines on staves + \allbarrules\sepbarrule + \allbarrules\sepmultibarrule + \allbarrules\showdashbarrule + \NOTes\en\bar + % dashed barlines between staves + \allbarrules\condashbarrule + \allbarrules\condashmultibarrule + \allbarrules\hidebarrule + \NOTes\en\bar + % dotted barlines on staves + \allbarrules\sepbarrule + \allbarrules\sepmultibarrule + \allbarrules\showdotbarrule + \NOTes\en\bar + % dotted barlines between staves + \allbarrules\condotbarrule + \allbarrules\condotmultibarrule + \allbarrules\hidebarrule + \NOTes\en\bar + % a wild mixture of all + \showdotbarrule1\hidebarrule2\showdashbarrule3\showbarrule4% + \condashbarrule2\conbarrule3\condotbarrule4% + \condashmultibarrule2\sepmultibarrule3% + \NOTes\en\bar + % conventional ending + \allbarrules\showbarrule + \allbarrules\conbarrule + \allbarrules\conmultibarrule + \NOTes\en\setdoubleBAR\endextract +\end{music} + +This is the code: -\subsection{How to manage individual page layout} -\begin{enumerate} - \item You write your own output routine, which centers the contents in the -middle of the page. Most important are then the values of -\keyindex{stafftopmarg} and \keyindex{staffbotmarg}, because they decide of -the amount of margin between successive systems. - \item If you say \keyindex{raggedbottom}, the vertical glue is removed and -the score is rather compacted at the top of page. - \item You change the value of \keyindex{parskip} and say -\keyindex{normalbottom} (which behaves like \LaTeX's \keyindex{flushbottom} -and which is done by default working with \verb|plain.tex|). Then the -vertical space between the staffs is changed to get the first staff on page -on top and the last staff on page to bottom (depends on \keyindex{vsize}). -It might be clever to insert a \keyindex{eject} before the \keyindex{bye}. -\keyindex{musicparskip} set between two systems no extra distance, but the -possibility to increase the distance up to \verb|5\Interligne|. -\end{enumerate} -\noindent -Besides, following values of e.g.~paper size are changed -(only if you \ital{do not} work with \LaTeX) to: \begin{quote}\begin{verbatim} -\parindent= 0pt -\hoffset= -15.4mm -\voffset= -10mm -\hsize= 190mm -\vsize= 260mm +\input musixdbr +\instrumentnumber4\setstaffs23\setstaffs32\setlines14\setsize2\tinyvalue +\indivbarrules\parindent0pt\startextract + % normal barlines + \bar + % separate instrument 2 from 1 + \sepbarrule2 + \notes\en\bar + % barlines on staves + \allbarrules\sepbarrule + \allbarrules\sepmultibarrule + \allbarrules\showbarrule + \NOTes\en\bar + % barlines between staves + \allbarrules\conbarrule + \allbarrules\conmultibarrule + \allbarrules\hidebarrule + \NOTes\en\bar + % dashed barlines on staves + \allbarrules\sepbarrule + \allbarrules\sepmultibarrule + \allbarrules\showdashbarrule + \NOTes\en\bar + % dashed barlines between staves + \allbarrules\condashbarrule + \allbarrules\condashmultibarrule + \allbarrules\hidebarrule + \NOTes\en\bar + % dotted barlines on staves + \allbarrules\sepbarrule + \allbarrules\sepmultibarrule + \allbarrules\showdotbarrule + \NOTes\en\bar + % dotted barlines between staves + \allbarrules\condotbarrule + \allbarrules\condotmultibarrule + \allbarrules\hidebarrule + \NOTes\en\bar + % a wild mixture of all + \showdotbarrule1\hidebarrule2\showdashbarrule3\showbarrule4% + \condashbarrule2\conbarrule3\condotbarrule4% + \condashmultibarrule2\sepmultibarrule3% + \NOTes\en\bar + % conventional ending + \allbarrules\showbarrule + \allbarrules\conbarrule + \allbarrules\conmultibarrule + \NOTes\en\setdoubleBAR\zendextract +\end{verbatim}\end{quote} + +\section{Bar numbering} +The current bar number is stored in a count register call \keyindex{barno}. +When \verb|\startpiece| is encountered, \verb|\barno| is set equal to +another count register called \verb|\startbarno|, whose default value is one. +Therefore, if you want the first bar to have a number $n$ different from 1, you +may either say \verb|\startbarno=|$n$ before \verb|\startpiece|, or say +\verb|\barno=|$n$ afterwards, but before the first bar line. You may also alter the bar +number at any time, either by explicitly resetting \verb|\barno|, or by +incrementing it with a command like \verb|\advance\barno-1|. + +\musixtex\ supports two distinct modes for printing bar numbers. In \ital{periodic} +bar numbering, the bar number is +placed above the top staff with a user-selectable frequency. In +\ital{system} bar numbering, the +number will appear at the beginning of each system. + +\subsection{Periodic bar numbering} +In a normal piece, periodic bar number printing is turned on by default, with a frequency +of one. In an extract, the default is to not print bar numbers. +To turn off bar numbering say \keyindex{nobarnumbers}. To reinstate periodic +bar numbering, or to initiate it in an extract, say \keyindex{barnumbers}. +To change to a +different frequency $n$, say \verb|\def|\keyindex{freqbarno}\verb|{|$n$\verb|}|. + +The appearance and positioning of the bar number is controlled by the +token \keyindex{writethebarno}, which by default is defined as\\ +\verb|\def\writethebarno{\fontbarno\the\barno\kernm\qn@width}| +where the font is defined as \verb|\def\fontbarno{\it}|. You can change +either of these as desired, for example + + \medskip +\begin{music}\barnumbers +\parindent0pt\startpiece +\Notes\Dqbu gh\Dqbl jh\en +\notes\Dqbbu fg\Dqbbl hk\en\bar +\Notes\Tqbu ghi\Tqbl mmj\en +\def\fontbarno{\bf}% +\notes\Tqbbu fgj\Tqbbl njh\en\bar +\Notes\Qqbu ghjh\Qqbl jifh\en\bar +\notes\Qqbbu fgge\Qqbbl jhgi\en\endpiece +\end{music} +\noindent which was coded as +\begin{quote}\begin{verbatim}\barnumbers +\Notes\Dqbu gh\Dqbl jh\en +\notes\Dqbbu fg\Dqbbl hk\en\bar +\Notes\Tqbu ghi\Tqbl mmj\en +\def\fontbarno{\bf}% +\notes\Tqbbu fgj\Tqbbl njh\en\bar +\Notes\Qqbu ghjh\Qqbl jifh\en\bar +\notes\Qqbbu fgge\Qqbbl jhgi\en \end{verbatim}\end{quote} + +\subsection{System bar numbering} +To have a bar number printed just above the beginning of each system, use +\keyindex{systemnumbers}. The distance above the staff is controlled +by \verb|\raisebarno|, which by default is \verb|4\internote| (to fit +above a treble clef). This can be redefined with the command\\ +\verb|\def|\keyindex{raisebarno}\verb|{|\ital{any \TeX~dimension}\verb|}|. +The horizontal position similarly is defined by \keyindex{shiftbarno} +which by default is \verb|0pt|. + +The number normally is enclosed in a +box. If you don't like that, you may redefine the macro \verb|\writebarno| +which by default is defined as\\ +\verb|\def|\keyindex{writebarno}\verb|{\boxit{\eightbf\the\barno\barnoadd}}|.\\ +This uses the utility \musixtex\ macro \keyindex{boxit} which will enclose +any text string in a box. + +Here are some possible alternate formats for system bar numbers: + +\medskip +\begin{music}\nostartrule +\def\fontbarno{\it}% +\let\extractline\hbox +\startbarno=36 +\hbox to \hsize{% +\hss + \raise20pt\hbox{(a) }% + \systemnumbers\startextract + \Notes\wh g\en + \zendextract +\hss + \def\writebarno{\tenrm\the\barno\barnoadd}% + \def\raisebarno{2\internote}% + \def\shiftbarno{2.5\Interligne}% + \raise20pt\hbox{(b) }% + \systemnumbers\startextract + \Notes\wh g\en + \zendextract +\hss + \def\writebarno{\llap{\tenbf\the\barno\barnoadd}}% + \def\raisebarno{2\internote}% + \def\shiftbarno{1.3\Interligne}% + \raise20pt\hbox{(c) }% + \systemnumbers\startextract + \Notes\wh g\en + \zendextract +\hss} +\end{music} +\noindent This was coded as +\begin{itemize}\setlength{\itemsep}{0ex} + \item[(a)] (default) + \item[(b)] + \begin{verbatim} +\def\writebarno{\tenrm\the\barno\barnoadd}% +\def\raisebarno{2\internote}% +\def\shiftbarno{2.5\Interligne}% + \end{verbatim} + \item[(c)] + \begin{verbatim} +\def\writebarno{\llap{\tenbf\the\barno\barnoadd}}% +\def\raisebarno{2\internote}% +\def\shiftbarno{1.3\Interligne}% + \end{verbatim} +\end{itemize} + +If the previous line does not stop with a bar rule, then the next +printed system bar number will immediately be followed by the contents +of the token \keyindex{writezbarno}, whose +default setting is the lower case character `\verb|a|'. You might want to +change this to `\verb|+|', in which case you should say +\verb|\def\writezbarno{+}|. + +%DAS: Who cares ??? +%\noindent Besides, you can suppress the messages of bar numbers on +%\verb|stdout| (normally screen) with \keyindex{nobarmessage}. In the same way, +%you can suppress the messages abour new lines (new systems) with +%\keyindex{nolinemessages}. + %\check + +\section{Managing the layout of your score} +\subsection{Line and page breaking}\label{linebreak} +If every bar ends with \verb|\bar| and no other line- or page-breaking commands +are used, then the external program \verb|musixflx| will decide where to insert +line and page breaks. Line breaks will only come at bar lines. The total +number of lines will depend on the initial value of \verb|\elemskip|, which by +default is 6 pt in \verb|\normalmusicsize|. + +You can force a line or page break by replacing \keyindex{bar} with +\keyindex{alaligne} or \keyindex{alapage} respectively. On the other hand, +to forbid line-breaking at a particular bar, replace \verb|\bar| +with \keyindex{xbar}. To force a line or page break where there is +no bar line, use \keyindex{zalaligne} or \keyindex{zalapage}. To mark any +mid-bar location as an optional line-breaking point, use \keyindex{zbar}. + +The heavy final double bar of a piece is one of the consequences of +\keyindex{Endpiece} or \keyindex{Stoppiece}. If you just want to terminate +the text with a simple bar, say \keyindex{stoppiece} or \keyindex{endpiece}. +To terminate it with no bar line at all, code \keyindex{zstoppiece}. + +Once you have stopped the score by any of these means, you may want to restart +it, and there are several ways to do so. If you don't need to change the key +signature, meter, or clef, +you can use \keyindex{contpiece} for no indentation, or \keyindex{Contpiece} +to indent by \keyindex{parindent}. If you do want to change some score +attribute that takes up space, for example +with \keyindex{generalsignature} after \verb|\stoppiece|, then to restart you +must use \keyindex{startpiece}. However, if you don't want \verb|\barno| reset +to 1, you must save its new starting value to \verb|\startbarno|. You may also +wish to modify instrument names or \verb|\parindent| before restarting. + +Recall that thin-thin or thin-thick double bars or blank bar lines can be +inserted without stopping by using the commands described in section +\ref{doublebars}. Those commands can also be used before \verb|\stoppiece|, +\verb|\alaligne|, or \verb|\alapage| + +\subsection{Page layout} +Blank space above and below each staff is controlled by the dimension +registers \keyindex{stafftopmarg} and \keyindex{staffbotmarg}. For more +info see section \ref{LayoutParameters}. + +The macro \keyindex{raggedbottom} will remove all vertical glue and +compact everything toward the top of page. +In contrast, the macro \keyindex{normalbottom} will restore default +behavior, in which vertical space between the systems is distributed +so that the first staff +on the page is all the way at the top and the last staff all the way at +the bottom. + +The macro \keyindex{musicparskip} will allow the existing space between +systems to increase by up to \verb|5\Interligne|. + +The following values of page layout parameters will allow the maximum material +to fit on each page, provided the printer allows the margins that are implied. + +\begin{center} +\begin{tabular}{|l|l|l|}\hline +\multicolumn{1}{|c|}{A4}&\multicolumn{1}{|c|}{letter}&\multicolumn{1}{|c|}{A4 or letter}\\\hline +\multicolumn{3}{|c|}{\tt\Bslash parindent= 0pt}\\\hline +\multicolumn{3}{|c|}{\tt\Bslash hoffset= -15.4mm}\\\hline +\multicolumn{3}{|c|}{\tt\Bslash voffset= -10mm}\\\hline +\verb+\hsize= 190mm+&\verb+\hsize= 196mm+&\verb+\hsize= 190mm+\\\hline +\verb+\vsize= 260mm+&\verb+\vsize= 247mm+&\verb+\vsize= 247mm+\\\hline +\end{tabular} +\end{center} +%avre \zkeyindex{parindent}\zkeyindex{hoffset}\zkeyindex{voffset} \zkeyindex{hsize}\zkeyindex{vsize} - %\check -\subsection{How to adjust the global line and page layout}\index{page and line -layout (global)} +\subsection{Page numbering, headers and footers}\index{page +number}\index{footnote} - Once you have made your whole score, you will probably find out that all -systems (all ``lines'') have a correct layout with nice beams, nice slurs, and -others. But it is likely that: - \begin{itemize} - \item The result takes too many or too few pages and you estimate a more or -less compact score would be suitable. - \item The results takes a convenient number of pages, but the last page -exhibits a widow line or an ugly blank space at the end. - \end{itemize} +There are no special page numbering facilities in \musixtex; you must rely on +macros from plain \TeX. There is a count register in \TeX\ called +\verb|\pageno|. It is always initialized to \verb|1| and incremented by one +at every page break. By saying \keyindex{pageno}$=n$, it can be reset to any +value at any time, and will continue to be incremented from the new value. - To solve this, you may revert to two strategies: - \begin{enumerate} - \item Explicitely force line and page breaking at the very places you like; - this can be done using \verb|\alaligne|, \verb|\alapage|, \verb|\zalaligne| -or \verb|\zalapage| commands. This can also be done using the -\verb|\autolines| command imported from \musictex\ and provided in the {\tt -musixcpt.tex} additional file. But this way of doing may result in -unfortunately uneven distribution of the notes in the score, which is therefore -not very smart. - \item Adapt both the \keyindex{mulooseness} and the global value of -\keyindex{elemskip}: increasing \verb|\mulooseness| (whose default is 0) -increases the total number of systems, and if you are clever you may be able -to fill an integer number of pages. Besides, increasing the stated -\verb|\elemskip| (use \verb|\showthe\elemskip| to find its default value) also -makes note spacing wider, and its advantage is that you can tune it by half a -percent if needed. - -\begin{remark} \verb|\elemskip| can be retrieved in both the first and the third -pass (second \TeX-ing pass), but any assignment of a value (a dimension value) -to \verb|\elemskip| will be of no effect at third pass, since it is taken from -the {\tt *.mx2} file yielded by {\tt musixflx}. On the contrary, assigning a -value to \keyindex{noteskip} within \verb|\notes...\enotes| is efficient in -both passes, and cause some weird errors if you mix up scalable and not -scalable dimensions. - \end{remark} - \end{enumerate} - %\check +By default, \TeX\ will place a page number on +every page, centered at the bottom. Unfortunately, this is not the preferred +location according to any standard practice. To suppress this default +behavior, say \keyindex{nopagenumbers}. -\section{Changing score attributes} +One way to initiate page numbering in a more acceptable location is to take +advantage of the facts that (a) \TeX\ prints the contents of the control sequences +\keyindex{headline} and \keyindex{footline} at the top and bottom +respectively of every page, and (b) the value of \verb|\pageno| can be printed by +saying \keyindex{folio}. Therefore, for example, the following sequence of +commands, issued anywhere before the end of the first page, will cause page +numbers and any desired text to be printed at the top of every page, +alternating between placement of the number at the left and right margins, and +alternating between the two different text strings (the capitalized text in +the example): - As seen before, you can change the signature of the whole set of instruments -by \keyindex{generalsignature}~$n$ where $n>0$ means a number of sharps, $n<0$ -means a number of flats. Or, you may prefer to change the signature of only -one or two instruments by the statement: +\begin{quote}\begin{verbatim} +\nopagenumbers +\headline={\ifodd\pageno\rightheadline\else\leftheadline\fi}% +\def\rightheadline{\tenrm\hfil RIGHT RUNNING HEAD\hfil\folio}% +\def\leftheadline{\tenrm\folio\hfil LEFT RUNNING HEAD\hfil}% +\voffset=2\baselineskip +\end{verbatim}\end{quote} -\keyindex{setsign} $n$\verb|{|$s$\verb|}| +\subsection{Controlling the total number of systems and pages}\index{page and line +layout (global)} +Once all the notes are entered into a \musixtex\ score, it would be convenient +if there were a simple sequence of commands to +cause a specified number of systems to be uniformly distributed over a +specified number of pages. Unfortunately that's not directly +possible\footnote{It \textit{is} possible in \textbf{PMX}.}. +Rather, some trial and error will usually be required to achieve the desired final +layout. To this end, some combination of the following strategies may be used: + + \begin{enumerate}\setlength{\itemsep}{0ex} + \item Assign a value to the count register \keyindex{linegoal} representing +the total number of systems. The count register \keyindex{mulooseness} must be 0 if using +\verb|\linegoal|. + \item Explicitly force line and page breaking as desired, using +the macros \verb|\alaligne|, \verb|\alapage|, \verb|\zalaligne| +or \verb|\zalapage|. + \item Adjust both \keyindex{mulooseness} and the initial value of +\keyindex{elemskip}: increasing \verb|\mulooseness| from its default of 0 will +increase the total number of systems, while changing the initial value of +\verb|\elemskip| (use \verb|\showthe\elemskip| to find its default value) may change the +total number of systems accordingly. + \end{enumerate} %\check -\noindent - where $n$ is the number of the instrument considered, and $s$ its -specific signature. Since you may change simultaneously (with respect to the -score) but consecutively (with respect to your code) the signatures of -several instruments, this change takes place only when you say -\keyindex{changesignature} (within a bar) or \keyindex{changecontext} (after -a single vertical rule) or \keyindex{Changecontext} (after a double vertical -rule) or \keyindex{zchangecontext} (without a bar rule\footnote{Old composers -uses the bar rules very rarely}). +\section{Changing clefs, key signatures, and meters} + +\subsection{Introduction}\label{contextintro} + +To define clefs, key signatures, or meters at the start of a piece, +or to change one or more of these attributes\footnote{In this section, +\ital{attribute} will refer to any clef, key signature, or meter.}~anywhere +else in a score, +\musixtex\ requires two steps. The first step is to \ital{set} the new values of +the attributes. +Most of the commands for this have the form \verb|\set|...~. They will be +described in the following subsections. + +But this alone will +not cause anything to be changed or printed. The second step is to activate the +change. This is done by issuing one of the +following commands (outside \verb|\notes|$\dots$\verb|\en|): +\verb|\startpiece|, \verb|\startextract|, \verb|\contpiece|, +\verb|\Contpiece|, +\verb|\alaligne|, \verb|\alapage|, \verb|\zalaligne|, \verb|\zalapage|, +\verb|\changecontext|, +\verb|\Changecontext|, \verb|\zchangecontext|, \verb|\changesignature|, +\verb|\changeclefs|, or \verb|\zchangeclefs|. Most of these perform +other functions as well, and some may be used even when no attributes +change. Features unrelated to changing attributes are detailed elsewhere. +The first 11 will activate all pending new attributes. +If more than one type is activated by a single command in this manner, +then regardless of the order +they were set, they will always appear in the following order: clef, key signature, +meter. +The last three commands in the above list obviously activate only +the specific type of attribute referred to in the name of the command. + +The macros \verb|\changecontext|, \verb|\Changecontext|, \verb|\zchangecontext| +will respectively insert a single, double, or invisible bar +line before printing the attributes. + +\subsection{Key Signatures} + +We've already seen in section \ref{whatspecify} how to set key +signatures for all instruments with \keyindex{generalsignature}, or for +specific instruments with \keyindex{setsign}. As just noted, these commands only +prepare for the insertion of the signatures into the score; it is +really \verb|\startpiece| that puts them in place at the beginning of the +score. + +The commands \verb|\generalsignature| and \verb|\setsign| also serve to set +new key signature(s) anywhere in score. The change can then be activated with one of +the 11 general commands listed above, or with \keyindex{changesignature} if +in the middle of a bar. +While neither \verb|\changesignature| nor \verb|\zchangecontext| prints a bar +line, the differences are that the latter increments the bar number counter and +inserts a horizontal space of \verb|\afterruleskip| after the new signature(s). +All of these options will repost signatures that have not been changed. + +Normally, changing a signature from flats to sharps or vice-versa, or +reducing the number of sharps or flats, will produce the appropriate set of +naturals to indicate what has been suppressed. This standard feature can be +temporarily inhibited by the command \keyindex{ignorenats} issued right before +the change-activating command. + +Here is an example showing various possibilities for changing key signatures. +Note the comments between the code lines. - Normally, changing a signature from flats to sharps or sharps to flats or -reducing the number of sharps/flats will produce the convenient set of -naturals to emphasise what is suppressed. This standard feature can be -temporarily inhibited by the command \keyindex{ignorenats} to be issued before -the next {\Bslash changecontext} or {\Bslash changesignature}. +\begin{quote}\begin{verbatim} +\instrumentnumber2\setstaffs22% +\setclef1{\bass}\generalsignature2% +\startextract +\Notes\qu K&\qu d|\qu e\en +% Signature change in a single instrument with two staves. +% Naturals appear by default, indicating cancelled sharps. +\setsign20\changesignature +\Notes\qu J&\qu d|\qu e\en +% When changing signature in the middle of a bar and no naturals +% are posted, the new signature can be confused with a simple accidental. +\setsign11\ignorenats\changesignature +\Notes\qu M&\qu d|\qu e\en +% New signatures after a double bar line +\generalsignature{-2}\Changecontext% +\Notes\qu K&\qu d|\qu e\en% +\Notes\qu K&\qu d|\qu e\en% +% New signatures after an invisible bar line. Note the +% difference in spacing compared with beat 3 of the prior measure +\generalsignature{1}\zchangecontext% +\Notes\qu K&\qu d|\qu e\en% +\end{verbatim}\end{quote} +\begin{music} +\instrumentnumber2\setstaffs22% +\setclef1{\bass}\generalsignature2% +\startextract +\Notes\qu K&\qu d|\qu e\en +% Signature changing in a single instrument with 2 staves +% Naturals are allowed to shown there are no more sharps +\setsign20\changesignature +\Notes\qu J&\qu d|\qu e\en +% Signature changing in a single staff without naturals +% if there is no bar line, the signatures are confusing: +% it is not clear if they are for a single note or not +\setsign11\ignorenats\changesignature +\Notes\qu M&\qu d|\qu e\en +% New signatures after a double bar line +\generalsignature{-2}\Changecontext% +\Notes\qu K&\qu d|\qu e\en% +\Notes\qu K&\qu d|\qu e\en% +% New signatures after an invisible bar line +% see the difference in space comparing beat 2 +\generalsignature{1}\zchangecontext% +\Notes\qu K&\qu d|\qu e\en% +\endextract +\end{music} - In the same way, you may want to change the active clefs. -This is done by -\keyindex{setclef}\verb|{|$n$\verb|}{|$s_1s_2s_3s_4$\verb|}%| +\subsection{Clefs}\label{treblelowoct} + +Macros that define clefs have already been discussed in section +\ref{whatspecify}. By way of review, here are all of the possible clefs +(applied to the lowest staff): +%avrb +\newcommand{\musicintextsign}[1]{\musicintext#1{\notes\en}} + +\begin{center}\vskip-1ex\footnotesize%\small +\begin{tabular}{||c|c|c|c|c||}\hline\hline +&&&&\\ +\verb+\setclef1\treble+&&&\verb+\setclef1\alto+&\\ +\verb+\setclef10+&\verb+\setclef11+&\verb+\setclef12+ +&\verb+\setclef13+&\verb+\setclef14+\\[-2ex]%\hline +\musicintextsign{\treble}&\musicintextsign1&\musicintextsign2 +&\musicintextsign{\alto}&\musicintextsign4\\[3ex]\hline +%\end{tabular} +&&&&\\ +%\begin{tabular}{ccccc} +&\verb+\setclef1\bass+&&\verb+\setclefsymbol1\empty+\footnotemark&\\ +\verb+\setclef15+&\verb+\setclef16+&\verb+\setclef17+ +&\verb+\setclef18+&\verb+\setclef19+\\[-2ex]%\hline +\musicintextsign5&\musicintextsign{\bass}&\musicintextsign7 +&\musicintextsign8&\musicintextsign9\\[3ex]\hline\hline +%This one uses \setclefsymbol1\empty : +%&\musicintextnoclef{\notes\qu h\en}&\musicintextsign9\\[3ex]\hline\hline +\end{tabular} +\footnotetext{Details of the macro {\tt\Bslash setclefsymbol} will be discussed later} +\end{center} +%avre + +Just as with key signatures, these commands only \ital{prepare} for clef changes. +To \ital{activate} them, any of the first 11 commands listed in section +\ref{contextintro} could be used. However, one should keep in mind that +according to modern conventions, a clef change at a bar line is posted +before the bar line, while for example \verb|\changecontext| would post it +after the bar line. In part for this reason, we have the special command +\keyindex{changeclefs}. It can be used anywhere outside +\verb+\notes...\enotes+ to activate a clef change and insert an amount of +horizontal space to accommodate the new clef symbol(s), without printing a +bar line. Sometimes no added +space is required, in which case \keyindex{zchangeclefs} should be used. + +Here are some examples of clef changes: - %\check +\begin{quote}\begin{verbatim} +\instrumentnumber2\setstaffs22% +\setclef1{\bass}\generalsignature2% +\startextract +% Change in one staff only, with added space +\setclef1\treble\changeclefs% +\Notes\qu k&\qu e|\cu{.d}\ccu{e}\en% +% Combined with signature change, also no extra space needed +% twice the same clef in staff 2 - with the help of a blank clef +\setclef28\zchangeclefs\setclef2\treble% +\setclef1\bass\zchangeclefs\setsign1{-2}\setsign2{-2}% +\ignorenats\changesignature% +\Notes\qu K&\cu{de}|\qu e\en% +% clef change before barline +\setclef1\treble\zchangeclefs\bar% +\Notes\qu k&\cu{de}|\qu e\en% +% clef change after barline +\setclef1\bass\bar\changeclefs% +\Notes\qu K&\cu{de}|\qu e\en% +% clef change after barline with changecontext +\setclef1\treble\changecontext% +\Notes\cu k&\cu d|\qu e\en% +% twice the same clef +\setclef18\zchangeclefs\setclef1\treble\changeclefs% +\Notes\cu k&\cu e |\en% +\zendextract +\end{verbatim}\end{quote} +\begin{music} +\instrumentnumber2\setstaffs22% +\setclef1{\bass}\generalsignature2% +\startextract +% Change in one staff only, with added space +\setclef1\treble\changeclefs% +\Notes\qu k&\qu e|\cu{.d}\ccu{e}\en% +% Combined with signature change, also no extra space needed +% twice the same clef in staff 2 - with the help of a blank clef +\setclef28\zchangeclefs\setclef2\treble% +\setclef1\bass\zchangeclefs\setsign1{-2}\setsign2{-2}% +\ignorenats\changesignature% +\Notes\qu K&\cu{de}|\qu e\en% +% clef change before barline +\setclef1\treble\zchangeclefs\bar% +\Notes\qu k&\cu{de}|\qu e\en% +% clef change after barline +\setclef1\bass\bar\changeclefs% +\Notes\qu K&\cu{de}|\qu e\en% +% clef change after barline with changecontext +\setclef1\treble\changecontext% +\Notes\cu k&\cu d|\qu e\en% +% twice the same clef +\setclef18\zchangeclefs\setclef1\treble\changeclefs% +\Notes\cu k&\cu e |\en% +\endextract +\end{music} -\noindent where $r$ is the number of the instrument, $s_1$ specifies the clef -of the lower staff, $s_2$ the clef of the second staff, etc. $s_1=6$ means the -\ital{bass} clef (\ixem{clef de fa} in French), $s_1=0$ means the \ital{violin} -clef (\ixem{clef de sol} in French), $s_1=1$ through $s_1=4$ mean the -\ital{alto} clef (\ixem{clef d'ut} in French) set on first (lower) through -fourth (next to upper line of the staff), $s_1=5$ or $s_1=6$ mean the bass clef -on the third or fourth line respectively.\index{violin clef}\index{bass -clef}\index{alto clef} - - As seen above in the case of signatures, several clefs may be changed at the -same time; thus all the clef changes become operational only when the macro -\keyindex{changeclefs} is coded. Normal usage consists in issuing this -command before the bar, not after (this helps the music player when the -change happens across a line break). - %\check +\noindent Of course the examples in the last two bars are contrary +to accepted practice. + +Clef changes initiated with the \verb|\setclef| command have several features +in common. When activated after the beginning of the piece, the printed symbol +is smaller than the normal one used at the beginning of the piece. Also, +\musixtex\ automatically adjusts vertical positions of noteheads consistent +with the new clef. + +There is an additional group of macros for setting new clefs which does not share +either of these features. In other words, they will always print full sized symbols, and they +won't change the vertical positions of noteheads from what they would have been +before the new symbol was printed. We could call this process ``clef symbol substitution'', +because all it does is print a different symbol (or no symbol at all) in place of +the underlying clef which was set in the normal way. + +You'll need to use clef symbol substitution if you want to have a so-called +\index{octave clefs}\label{octclef}octave treble clef or octave bass +clef, i.e., one containing a numeral 8 above or +below the normal symbol. The syntax for setting upper +octaviation +is \keyindex{setbassclefsymbol}\onen\keyindex{bassoct}\\ +or \keyindex{settrebleclefsymbol}\onen\keyindex{trebleoct}; for lower octaviation +it is\\ \keyindex{setbassclefsymbol}\onen\keyindex{basslowoct} or +\keyindex{settrebleclefsymbol}\onen\keyindex{treblelowoct}. Because these sequences act to +\ital{replace} normal bass or treble clefs with a different symbol, they +require that the normal clefs be set first. For example + +\noindent\begin{minipage}{80mm} +\begin{music}\nostartrule + \parindent 19mm + \instrumentnumber{4} + \generalmeter{\empty} + \setclef1\bass \setclef2\bass \setclef3\treble \setclef4\treble + \setbassclefsymbol1\basslowoct + \setbassclefsymbol2\bassoct + \settrebleclefsymbol3\treblelowoct + \settrebleclefsymbol4\trebleoct +\startextract +\Notes\qu{`abcdefghi}&\qu{`abcdefghi}&\qu{abcdefghi}&\qu{abcdefghi}&\enotes +\zendextract +\end{music} +\end{minipage} +\begin{minipage}{50mm} +\begin{verbatim} +\parindent 19mm +\instrumentnumber{4} +\generalmeter{\empty} +\setclef1\bass \setclef2\bass +\setclef3\treble \setclef4\treble +\setbassclefsymbol1\basslowoct +\setbassclefsymbol2\bassoct +\settrebleclefsymbol3\treblelowoct +\settrebleclefsymbol4\trebleoct +\startextract +\Notes\qu{`abcdefghi}&\qu{`abcdefghi}% +&\qu{abcdefghi}&\qu{abcdefghi}&\enotes +\zendextract +\end{verbatim} +\end{minipage} - The \verb|\changeclefs| command normally takes some horizontal space to put -one of more clef symbols, but it may happen that you have no notes -immediately before on the staff whose clef is changed. In that case, you can -use \keyindex{zchangeclefs} which performs the same posting, overwritten left on -the last part of the score in that staff. Of course it is your responsibility -to ensure that no notes will collide with the clef change symbols. - %\check +\index{clefs (empty)} +Another application of clef symbol substitution is to cause no clef to be +printed, as for example might be desired in percussion music, This +can be accomplished with \keyindex{setclefsymbol}\onen\verb|\empty|, which +once activated would replace \ital{all} clef symbols in the first (lowest) +staff of instrument $n$ with blanks. + +Normal symbols for those clefs that have been substituted can be restored by +\keyindex{resetclefsymbols}. + +The various clef symbol substitution commands can only be used to substitute for +\texttt{treble}, \texttt{alto}, or \texttt{bass} clefs. -The \musictex\ problem if a clef change is coded while one or several beams -are pending has been removed in \musixtex. As an enhanced example, we provide -an excerpt of {\sc Brahms}'s Intermezzo op.~117,1 initially coded by Miguel -{\sc Filgueiras}:\index{Brahms, J.@{\sc Brahms, J.}}\medskip +In the following example, (1) is two normal clef changes. At (2) the clef is first changed +back to treble and then the \verb|\treblelowoct| symbol is substituted by using +\verb|\settrebleclefsymbol|. +When changing the clef away from treble and then back as at (3), the substitution +symbol is still in force. At (4), \verb|\resetclefsymbols| cancels the symbol substitution. +If using \verb|\setclefsymbol| all available clefs are changed to the same symbol, as you can see +in the two clefs after (5) in comparison with (2). Obviously the second clef after (5) is +nonsense; \verb|\resetclefsymbols| puts matters in order at (6) and (7). \begin{music} -\setstaffs1{2} -\interstaff{11} -\setclef1\bass % F- and G-clefs -\generalsignature{-3}% 3 flats -\parindent-4mm -\advance\hsize8mm +\instrumentnumber1\setclef1\bass \startpiece -\qspace\nspace -\Notes\arpeggio E5\ibslurd0o\zq{EI}\qu N% - \nextstaff\ibl0e{-2}\zq{eg}\qb0l\zq d\qb0k\enotes -\setclef1\treble\zchangeclefs -\nspace -\Notes\tbu0\zq{ce}\qb0j\nextstaff\zq{sn}\cl l\enotes -\notes\curve{-4}22\invertslur0\tslur0t\zq{be}\qu i\nextstaff\zq{sn}\ql l\enotes -\setclef1\bass\changeclefs -\notes\islurd0k\zq E\cu I\nextstaff - \ibbu1h{-3}\zq{ae}\qb1h\tbu1\zq N\qb1g\enotes -\bar -\Notes\ibu0L{-2}\zq{EI}\qb0M\zqb0L% - \nextstaff{\stemlength4\zql N}\ibu1f{-2}\qb1f\tbu1\zqb1e\hsk\enotes -\setclef1\treble\changeclefs -\nspace -\Notes\tbu0\zq{Me}\qb0g\nextstaff\zq{ln}\cl s\en -\notes\curve{-4}22\invertslur0\tslur0q\zq{be}\qu i\nextstaff\zq{ln}\ql s\en -\setclef1\bass\changeclefs -\notes\islurd0m\zq G\cu L\nextstaff - \ibbu1j3\zq c\qb1j\tbu1\zq d\qb1k\enotes -\bar -\Notes\zq G\qu L% - \nextstaff\ibl0e{-2}\zq{ei}\qb0l\zq d\zqb0k\enotes -\setclef1\treble\changeclefs -\nspace -\Notes\tbu0\zq{ce}\qb0j\nextstaff\zq{sn}\cl l\enotes -\notes\curve{-5}22\invertslur0\tslur0o\zq{be}\qu i\nextstaff\zq{sn}\ql l\enotes -\setclef1\bass \changeclefs -\notes\zq B\cu I\nextstaff\ibsluru0j% - \ibbu1h{-3}\zq{ae}\qb1h\tbu1\zq N\qb1g\enotes -\bar -\Notes\zq{IL}\ql N\nextstaff\zql b\ibu0i{-2}\qb0i\enotes -\scale{.5}% -\Notes\nextstaff\qb0e\enotes -\Notes\nextstaff\tinynotesize\isluru1f\grcu g\enotes -\scale\normalvalue -\Notes\zq B\cu I\nextstaff\zcl a\tslur1f\tbu0\zq d\qb0f\enotes -\Notesp\zq E\qu I\nextstaff\tslur0e\zq N\zql e\ibu0g6\qbp0e\enotes -\notes\sk\icresc\cu E\sk\zmidstaff\tcresc\nextstaff - \ibsluru0i\nbbu0\qb0g\zq i\zcl g\qb0i\tbu0\qb0n\tubslur0k\enotes +\notes\zchar{-5}{1}\qu H\en\setclef1\treble\changeclefs +\notes\qu i\en\setclef1\bass\changeclefs\bar +\notes\zchar{-5}{2}\qu J\en +\setclef1\treble\settrebleclefsymbol1\treblelowoct\changeclefs +\notes\qu i\en\setclef1\bass\changeclefs\bar +\notes\zchar{-5}{3}\qu I\en\setclef1\treble\changeclefs +\notes\qu i\en\setclef1\bass\changeclefs\bar +\notes\zchar{-5}{4}\qu J\en\resetclefsymbols\setclef1\treble\changeclefs +\notes\qu i\en\setclef1\bass\changeclefs\doublebar +\notes\zchar{-5}{5}\qu J\en +\setclef1\treble\setclefsymbol1\treblelowoct\changeclefs +\notes\qu i\en\setclef1\bass\changeclefs\bar +\notes\zchar{-5}{6}\qu I\en\setclef1\treble\changeclefs +\notes\qu i\en\resetclefsymbols\setclef1\bass\changeclefs\bar +\notes\zchar{-5}{7}\qu J\en\setclef1\treble\changeclefs +\notes\qu i\en \endpiece \end{music} +\noindent This is the code: -\noindent The first bar of this excerpt was coded as: - - \begin{verbatim} -\begin{music} -\instrumentnumber{1} -\setstaffs1{2} -\interstaff{11} -\setclef1\bass % F- and G-clefs -\generalsignature{-3}% 3 flats -\parindent0pt +\begin{quote}\begin{verbatim} +\begin{music}\nostartrule +\instrumentnumber1\setclef1\bass \startpiece -\qspace\nspace -\Notes\arpeggio E5\ibslurd0o\zq{EI}\qu N% - \nextstaff\ibl0e{-2}\zq{eg}\qb0l\zq d\qb0k\enotes -\setclef1\treble\zchangeclefs -\nspace -\Notes\tbu0\zq{ce}\qb0j\nextstaff\zq{sn}\cl l\enotes -\notes\invertslur0\tslur0t\zq{be}\qu i\nextstaff\zq{sn}\ql l\enotes -\setclef1\bass \changeclefs -\notes\islurd0k\zq E\cu I\nextstaff - \ibbu1h{-3}\zq{ae}\qb1h\tbu1\zq N\qb1g\enotes -\end{music}\end{verbatim}% -\ital{Meter} changes are implemented in following way: +\notes\zchar{-5}{1}\qu H\en\setclef1\treble\changeclefs +\notes\qu i\en\setclef1\bass\changeclefs\bar +\notes\zchar{-5}{2}\qu J\en +\setclef1\treble\settrebleclefsymbol1\treblelowoct\changeclefs +\notes\qu i\en\setclef1\bass\changeclefs\bar +\notes\zchar{-5}{3}\qu I\en\setclef1\treble\changeclefs +\notes\qu i\en\setclef1\bass\changeclefs\bar +\notes\zchar{-5}{4}\qu J\en\resetclefsymbols\setclef1\treble\changeclefs +\notes\qu i\en\setclef1\bass\changeclefs\doublebar +\notes\zchar{-5}{5}\qu J\en +\setclef1\treble\setclefsymbol1\treblelowoct\changeclefs +\notes\qu i\en\setclef1\bass\changeclefs\bar +\notes\zchar{-5}{6}\qu I\en\setclef1\treble\changeclefs +\notes\qu i\en\resetclefsymbols\setclef1\bass\changeclefs\bar +\notes\zchar{-5}{7}\qu J\en\setclef1\treble\changeclefs +\notes\qu i\en +\endpiece +\end{verbatim}\end{quote} -\keyindex{setmeter} $n$% - \verb|{{|$m1$\verb|}{|$m2$\verb|}{|$m3$\verb|}{|$m4$\verb|}}%| +\subsection{Meter changes} -\noindent - where $n$ is the number of the instrument, $m1$ specifies the meter -of the lower staff, $m2$ the meter of the second staff, etc. (if necessary!). +As mentioned in section \ref{generalmeter}, a common \itxem{meter} for all +staves can be specified by \keyindex{generalmeter}\verb|{|$m$\verb|}|, +where $m$ denotes the meter. On the other hand, meter changes in specific +staves are implemented with +\keyindex{setmeter}\onen\verb|{{|$m1$\verb|}{|$m2$\verb|}{|$m3$\verb|}{|$m4$\verb|}}|, +where $n$ is the number of the instrument, $m1$ specifies the meter +of the first (lowest) staff, $m2$ the second staff, and so forth. (Only enter +as many $m$'s as necessary.) + +Since meter changes are meaningful only across bars, there is no special command to +activate a new meter; rather, they are activated with the general commands +\keyindex{changecontext}, etc., listed in section \ref{contextintro}. + +The next example shows a few methods to get a meter change, in all staves or +in a single staff. -Since meter changes -are meaningful only across bars, they are actually taken in account with -\keyindex{changecontext} or \keyindex{Changecontext} or -\keyindex{zchangecontext} or \keyindex{alaligne} or \keyindex{alapage}. +\begin{quote}\begin{verbatim} +\instrumentnumber2\setstaffs22% +\generalmeter{\meterfrac{4}{4}\meterfrac{2}{4}\meterfrac{1}{4}}% +\setclef1{\bass}\generalsignature2% +\startextract +\setmeter1{{\meterfrac{2}{4}}}% +\setmeter2{{\lower2pt\hbox{\meterfrac{\Bigtype 2}{}}}% +{\meterfrac{3}{4}}}\changecontext +\Notes\qu K&\cu{de}|\qu e\en +% bar 11 +% Meters, clefs, and key signatures. +% All 3 clefs after bar (probably bad form) if no changeclefs +\setmeter1{{\meterfrac{2}{8}}}% +\setmeter2{{\meterfrac{3}{6}}{\meterfrac{3}{8}}}% +\setsign2{-1}% +% How to force showing the bass clef? +\setclef1\bass\setclef2{23}% +\Changecontext +\Notes\qu K&\cu{de}|\qu e\en +% bar 12 +% Meters, clefs, and key signatures, with clef before the bar. +% Maybe not best form if signatures are involved +\setmeter1{{\meterfrac{2}{4}}}% +\setmeter2{{\meterfrac{3}{8}}{\meterfrac{3}{6}}}% +\setsign2{-1}% +\setclef1\treble\zchangeclefs\changecontext +\Notes\qu k&\cu{de}|\qu e\en +\end{verbatim}\end{quote} +\begin{music} +\instrumentnumber2\setstaffs22% +\generalmeter{\meterfrac{4}{4}\meterfrac{2}{4}\meterfrac{1}{4}}% +\setclef1{\bass}\generalsignature2% +\startextract +\setmeter1{{\meterfrac{2}{4}}}% +% How big the '2' must be? +\setmeter2{{\lower2pt\hbox{\meterfrac{\Bigtype 2}{}}}% +{\meterfrac{3}{4}}}\changecontext +\Notes\qu K&\cu{de}|\qu e\en +% bar 11 +% Meter Clefs and Key Signatures +% all 3 clefs after bar if no changeclefs +\setmeter1{{\meterfrac{2}{8}}}% +\setmeter2{{\meterfrac{3}{6}}{\meterfrac{3}{8}}}% +\setsign2{-1}% +% How to force showing the bass clef? +\setclef1\bass\setclef2{23}% +\Changecontext +\Notes\qu K&\cu{de}|\qu e\en +% bar 12 +% Meter Clefs Keys Signatures all 3 with clef before the bar +% probably not if signatures are involved +\setmeter1{{\meterfrac{2}{4}}}% +\setmeter2{{\meterfrac{3}{8}}{\meterfrac{3}{6}}}% +\setsign2{-1}% +\setclef1\treble\zchangeclefs\changecontext +\Notes\qu k&\cu{de}|\qu e\en +\endextract +\end{music} \section{Repeats} -To insert a \ital{repeat bar} you can use following sets of procedures, -namely \keyindex{leftrepeat}, \keyindex{rightrepeat} and -\keyindex{leftrightrepeat}, which are substitute the \keyindex{bar}. -For example: +To replace a bar line with a left, right, or left-right repeat, use one of the +commands \keyindex{leftrepeat}, \keyindex{rightrepeat} or +\keyindex{leftrightrepeat} in place of \verb|\bar|. If a \verb|\leftrepeat| +happens to come at the end of a system, it will automatically be moved to the +start of the next system. If a \verb|\leftrightrepeat| happens to come at the +end if a system, \musixtex\ will automatically post a right repeat at the end +of the system and a left repeat at the beginning of the next. -\begin{music} +For example, + +\begin{music}\nostartrule \startextract \NOTes\ha g\enotes \leftrepeat @@ -3663,7 +4742,7 @@ For example: \NOTes\ha i\enotes \rightrepeat \NOTEs\wh j\enotes -\endextract +\zendextract \end{music} \noindent has been coded as: \begin{quote}\begin{verbatim} @@ -3675,71 +4754,33 @@ For example: \rightrepeat \NOTEs\wh j\enotes \end{verbatim}\end{quote} -Special cases are forced line breaks: -if you want to force a new line at a repeat, you should code -respectively: - -\begin{quote} -\noindent\keyindex{setrightrepeat}\keyindex{alaligne}\\ -\keyindex{setrightrepeat}\keyindex{endpiece}\\ -\keyindex{alaligne}\keyindex{leftrepeat}\\ -\keyindex{contpiece}\keyindex{leftrepeat}\\ -\keyindex{startpiece}\keyindex{leftrepeat} -\end{quote} - -\noindent or the combination of two of these in the case of a left/right -repeat. - - A second way of coding consists in saying \keyindex{setleftrepeat}, -\keyindex{setrightrepeat} or \keyindex{setleftrightrepeat} before a bar -(\keyindex{bar}), \keyindex{stoppiece} or \keyindex{changecontext}). In -this case, the next single vertical bar will be replaced with the selected -repeat bar. This meets the traditional music typesetting conventions in the -only case of the \ital{right repeat} but, unfortunately, left and left/right -repeats use to behave in a different manner when in the middle of a line and -at a line break. - - \subsection{Specific first and second pass scoring} - -\RuleOn -A frequent situation consists in a long part of score repeated two or several -times, but its last few bars are different at first pass and at second pass. -This can be specified by saying -\keyindex{setvolta}\verb|{|\ital{text}\verb|}| before the \keyindex{bar} -beginning the part specific to that first or second part\footnote{The word -``volta'' comes from Italian, it means ``time'' in the sense of ``first -time'', ``second time'' or ``pass'' in that case.}. - - Then, only one bar has a horizontal rule above. No termination command is -needed since termination is implied by the following \verb|\bar| or repeat -symbol. For example: - -\medskip \begin{music} - \parindent0pt \startpiece \addspace\afterruleskip - \NOTEs\wh a\en\bar - \NOTEs\wh b\en\setvolta{1.-3}\bar \NOTEs\wh c\en\setvolta4\rightrepeat - \NOTEs\wh d\en\bar - \NOTEs\wh e\en\Endpiece -\end{music} -which was coded as: - \begin{quote}\begin{verbatim} - \parindent0pt \startpiece \addspace\afterruleskip - \NOTEs\wh a\en\bar - \NOTEs\wh b\en\setvolta{1.-3}\bar \NOTEs\wh c\en\setvolta4\rightrepeat - \NOTEs\wh d\en\bar - \NOTEs\wh e\en\Endpiece -\end{verbatim}\end{quote} - - - If the music typesetter wants to include more than one bar in the first -pass[es] section and he wants all these to have a continuous line above, then -he can code \keyindex{Setvolta}\verb|{|\ital{text}\verb|}| before the bar he -wants the ``volta'' to begin, and put \keyindex{setendvolta} or -\keyindex{setendvoltabox} before the bar they should end. -\keyindex{setendvoltabox} makes the upper line to be terminated with a -descending hook, symmetrical to the opening small vertical bar. - +To insert a right repeat at a forced line break or at the end of a piece, use +\verb|\setrightrepeat| \textit{before}\ \verb|\alaligne| or \verb|\endpiece|. +In contrast, to insert a left repeat at a forced line break or at the +beginning of a piece, simply use \verb|\leftrepeat| immediately \textit{after} +\verb|\startpiece| or \verb|\alaligne|. To insert a left-right repeat at a +forced line break, use \verb|\setrightrepeat\alaligne\leftrepeat|. + +In fact it is possible to use \keyindex{setleftrepeat}, +\keyindex{setrightrepeat} or \keyindex{setleftrightrepeat} before any +\keyindex{bar}, \keyindex{stoppiece} or \keyindex{changecontext}. But +be aware that while \verb|\setleftrepeat| behaves properly if the +bar is at the end of a system, \verb|\setleftrightrepeat| does not, placing +the symbol only at the end of the system. + + \subsection{First and second endings (Voltas)}\index{volta} + +All volta commands must be entered right before the bar line command +(or repeat, etc.) where they are to take effect. There are three +commands that suffice to set all voltas. To start one, use +\keyindex{Setvolta}\verb|{|\textit{text}\verb|}|; to terminate it +with or without a vertical line, use \keyindex{endvolta} or +\keyindex{endvoltabox} respectively. The text by default will be followed +by a period. There are also various alternate +commands (e.g., \verb|\setendvoltabox| is equivalent to \verb|endvoltabox|). +Some such alternate forms are used in the following example, but the first three +mentioned above are all that are required: \medskip \begin{music} \parindent0pt @@ -3759,8 +4800,7 @@ descending hook, symmetrical to the opening small vertical bar. \NOTEs\wh h\en\setendvoltabox \Endpiece \end{music} - \noindent has been -coded as: + \noindent This was coded as \begin{quote}\begin{verbatim} \startpiece \addspace\afterruleskip \NOTEs\wh a\en\bar @@ -3777,52 +4817,44 @@ coded as: \NOTEs\wh h\en\setendvoltabox \Endpiece \end{verbatim}\end{quote} - \zkeyindex{leftrepeat}\zkeyindex{rightrepeat} The -``volta'' symbols are normally set at \verb|4\internote| above the upper line -of the staff and one bar(length?) wide. + \zkeyindex{leftrepeat}\zkeyindex{rightrepeat} - The final down hook is stated, either by \keyindex{setendvoltabox} at the end, -or \keyindex{setvoltabox} at the beginning. +If the volta only spans one measure and ends without a vertical segment, +it can be specified simply by saying +\keyindex{setvolta}\verb|{|\textit{text}\verb|}| before the bar line command +that starts it, and it will automatically terminate at the +second bar line command: -\begin{important} - You are no more allowed to open \verb|\Setvolta| or \verb|\setvoltabox| whan -another of these multi-bar volta is pending. To re-open a \verb|\Setvolta| at -the ens of another one, you must explicitly order the first one to be closed -at the end of the bar where the second one is opened. Given examples had to be -corrected in order to meet this new safety requirement. - -\end{important} +\medskip \begin{music} + \parindent0pt \startpiece \addspace\afterruleskip + \NOTEs\wh a\en\bar + \NOTEs\wh b\en\setvolta{1.-3}\bar \NOTEs\wh c\en\setvolta4\rightrepeat + \NOTEs\wh d\en\bar + \NOTEs\wh e\en\Endpiece +\end{music} +\noindent which was coded as: + \begin{quote}\begin{verbatim} + \parindent0pt \startpiece \addspace\afterruleskip + \NOTEs\wh a\en\bar + \NOTEs\wh b\en\setvolta{1.-3}\bar \NOTEs\wh c\en\setvolta4\rightrepeat + \NOTEs\wh d\en\bar + \NOTEs\wh e\en\Endpiece +\end{verbatim}\end{quote} - For the sake of portability, \keyindex{endvolta} is identical ti -\verb|\setendvolta|, and \keyindex{endvoltabox} is identical to -\verb|\setendvoltabox|. Theses changes in the names ar intended to recall that -these commant take effect only at the next bar, repeat or line break. +The height above the top staff line of the horizontal line in a volta symbol +is determined by the token \keyindex{raisevolta} which is 4\verb|\internote| by +default. You can change this to any desired dimension. +The period after the text can be +removed by saying \verb|\def|\keyindex{voltadot}\verb|{}| +and restored by \verb|\def|\keyindex{voltadot}\verb|{.}|\ . -\RuleOff + \subsection{Special symbols for repeating long sections} - The altitude of the ``volta'' above the upper staff can -be changed, redefining \keyindex{raisevolta}, e.g.: - - \verb|\def\raisevolta{7\internote}| - - \noindent or define it to be any other valid dimension. - - \medskip\noindent{\sl REMARK: the dot after "volta" numbering can be removed, -simply by saying:} - - \verb|\def|\keyindex{voltadot}\verb| {}| - -\noindent {\sl and reset by:} - - \verb|\def|\keyindex{voltadot}\verb| {.}| - - \subsection{Large scope repeats and orientation marks} - -Large scope repeats have also been provided -with special symbols, namely \keyindex{coda}~$p$, \keyindex{Coda}~$p$, -\keyindex{segno}~$p$, where $p$ specifies the pitch. A bigger symbol is -\keyindex{Segno} with no argument. For example, the following figure +Four special symbols and corresponding macros are available, namely +\keyindex{coda}~$p$, \keyindex{Coda}~$p$, +and \keyindex{segno}~$p$, where $p$ specifies the pitch; and \keyindex{Segno} +with no argument. Their behavior is illustrated in this example: \begin{music} \startextract @@ -3834,227 +4866,320 @@ with special symbols, namely \keyindex{coda}~$p$, \keyindex{Coda}~$p$, \NOtes\Coda n\enotes \endextract \end{music} -\noindent has been coded: +\noindent which has been coded: \begin{quote}\begin{verbatim} \NOtes\segno m\enotes\bar \NOtes\coda m\enotes \NOtes\Segno\enotes\bar \NOtes\Coda m\enotes \end{verbatim}\end{quote} -Orientation marks are set more often above larger orchestral pieces for -easy come together of all instruments for exercise reasons. Often used are -circled or boxed uppercase characters or digits. This can be done with -\keyindex{boxit}\verb|{|\ital{text}\verb|}|~~~or\\ -\indent\keyindex{circleit}\verb|{|\ital{text}\verb|}| - -\noindent The distance between the box and the including text is influenced by - -\keyindex{boxitsep}\verb|=|\ital{any \TeX\ dimension} - -\noindent which is setup by default to \verb|3pt|. The usage is recommended -with \keyindex{Uptext}, \keyindex{zcharnote}, \keyindex{zchar} or -\keyindex{ccharnote}. - -\subsection{Repeating the last bar} - This can be done using the symbol \keyindex{duevolte} (often used with -\verb|\centerbar|, see example in \ref{barcentered}, p. -\pageref{barcentered}), e.g.: +\subsection{Repeating a single bar} + The special symbol for a single bar repeat is generated by \keyindex{duevolte}, as shown +in the following example: \begin{music} \generalmeter\meterC \setclef1\bass\setstaffs1{2} \startextract \NOtes\sk\sk\pause|\qa{cegj}\en -\bar\NOtes\qa{cdef}|\sk\sk\duevolte\en +\bar\NOtes\qa{cdef}|\sk\hsk\duevolte\en \endextract \end{music} -whose coding is: +\noindent whose coding is: \begin{quote}\begin{verbatim} \generalmeter\meterC \setclef1\bass\setstaffs1{2} \startextract \NOtes\sk\sk\pause|\qa{cegj}\en -\bar\NOtes\qa{cdef}|\sk\sk\duevolte\en +\bar\NOtes\qa{cdef}|\sk\hsk\duevolte\en \endextract \end{verbatim}\end{quote} - %\check - -\section{Miscellaneous} - \subsection{Putting anything anywhere} -\noindent Special macros are provided to help the composer to set any \TeX\ -text on the staffs. The macro - -\keyindex{zcharnote}~$p$\verb|{|text\verb|}| - -\noindent -sets the given text with its base line at pitch $p$ of the current staff -(this means it must be coded inside \verb|\notes...\enotes|). -Whatever the length of the text, no spacing occurs. -If you want the possible spilling text to expand on the left rather than -on the right, then you can use \keyindex{lcharnote}. -If you want the possible spilling text centered to current position, -then you can use \keyindex{ccharnote} which causes no space. - -The macro \keyindex{zcharnote} is fit for coding special notations like -accents above or below the notes. Also available are \keyindex{zchar}, -\keyindex{lchar} and \keyindex{cchar}, which -allows only numbers for pitch, but enables the use of floats too. - -To place some text at the mid-position between the two staffs of -a keyboard instrument, you may code: -\begin{quote} -\keyindex{zmidstaff}\verb|{|{\it text}\verb|}%| (to right)\\ -\keyindex{lmidstaff}\verb|{|{\it text}\verb|}%| (to left)\\ -\keyindex{cmidstaff}\verb|{|{\it text}\verb|}%| (centred) -\end{quote} -\noindent being however -careful, a) to put it inside \verb|\notes...\enotes|, b) to code it in the -text of the lower staff. - - A text to be put above the current staff is introduced by -\keyindex{uptext}\verb|{...}|. -This may however cause some collision with bar -numbering or notes above the staff; it is then wise to use -\keyindex{Uptext}\verb|{...}| -which puts the text two note line distances higher (recommended to post -the tempo). - \subsection{Fonts} The text fonts loaded by \musixtex\ come in six different -type sizes and three styles. The type sizes are 8\,pt, 10\,pt, 12\,pt, 14\,pt, -17\,pt and 25\,pt, while the three styles are roman, bold and italic. The -three smaller type sizes are available in all three styles, while the larger -three sizes, which are intended for titles, are available only in bold style. -The size selection macros are respectively \keyindex{smalltype}, +\noindent This is often used with \verb|\centerbar| to more easily center the +symbol between bar lines, as shown in the example in section \ref{barcentered}. + +\section{Font selection and text placement} + +\subsection{Predefined text fonts} +While any \TeX\ font can be used by \musixtex, there are certain styles and +sizes that can be selected using shortcut commands. +For ordinary text the shortcuts cover fonts of eight different +sizes and three styles. The sizes in points are 8, 9, 10, 12, 14, 17, 20, and 25; +the styles are from the standard Computer Modern family: Roman, bold and italic. The +four smallest sizes are each available in all three styles, while the larger +sizes, which are intended for titles, are available only in bold style. +The size selection macros from smallest to biggest are \keyindex{smalltype}, +\keyindex{Smalltype}, \keyindex{normtype}, \keyindex{medtype}, \keyindex{bigtype}, \keyindex{Bigtype} , -\keyindex{BIgtype} and \keyindex{BIGtype}. Following the size selection, the -style may be selected or changed using \keyindex{rm} (roman), \keyindex{bf} -(bold) or \keyindex{it} (italic). If no style selection is made, roman style -will result for the sizes smaller than \verb|\medtype|. For the larger sizes, -style selection is not required since only bold style is provided. Thus, -selection of eight point italic is done using \verb|\smalltype\it|, while -twelve point roman is selected using \verb|\medtype\rm| or simply +\keyindex{BIgtype} and \keyindex{BIGtype}. Following size selection, the +style may be selected or changed using \keyindex{rm} (Roman), \keyindex{bf} +(bold) or \keyindex{it} (italic). If no style is explicitly selected, Roman style +will be used for the sizes \verb|\medtype| or smaller. For the larger sizes, +only bold style is provided and no style selection is required. Thus, for example, +eight point italic is selected with \verb|\smalltype\it|, while +twelve point Roman is selected using \verb|\medtype\rm| or simply \verb|\medtype|. To change between styles while maintaining the same size, -code \verb|\rm|, \verb|\it| or \verb|\bf| as in Plain \TeX. This information -is summarized in the following table. +code \verb|\rm|, \verb|\it| or \verb|\bf| as in Plain \TeX. +When \musixtex\ is started, the default font for ordinary text is +ten point Roman, equivalent to \verb|\normtype\rm|. + +Another group of fonts, in bold extended italic style, is predefined in point sizes +10, 12, 14, and 17 for dynamic markings. The appropriate font for the current +staff size may be selected simply by using \keyindex{ppff} as a +font specification. Macros \verb|\smalldyn|, \verb|\normdyn|, or \verb|\meddyn| may be +used to redefine \verb|\ppff| to represent one of the smallest three. + +All predefined fonts are summarized in the following table. The second column gives an +explicit control sequence that can alternatively be used locally as a font specification. \begin{center} - \begin{tabular}{clc} + \begin{tabular}{lll} \hline - Size, pt & Size selection & Style selection \\ + Size and style & Font specification & Example \\ \hline - 8 & \verb|\smalltype| & \verb|\rm, \bf, \it| \\ - 10 & \verb|\normtype| & \verb|\rm, \bf, \it| \\ - 12 & \verb|\medtype| & \verb|\rm, \bf, \it| \\ - 14 & \verb|\bigtype| & \verb| (\bf) | \\ - 17 & \verb|\Bigtype| & \verb| (\bf) | \\ - 20 & \verb|\BIgtype| & \verb| (\bf) | \\ - 25 & \verb|\BIGtype| & \verb| (\bf) | \\ + \verb|\smalltype| & \verb|\eightrm| & {\smalltype small Roman} \\ + \verb|\smalltype\bf| & \verb|\eightbf| & {\smalltype\bf small bold} \\ + \verb|\smalltype\it| & \verb|\eightit| & {\smalltype\it small italic} \\ + \verb|\Smalltype| & \verb|\ninerm| & {\Smalltype Small Roman} \\ + \verb|\Smalltype\bf| & \verb|\ninebf| & {\Smalltype\bf Small bold} \\ + \verb|\Smalltype\it| & \verb|\nineit| & {\Smalltype\it Small italic} \\ + \verb|\normtype| & \verb|\tenrm| & {\normtype normal Roman} \\ + \verb|\normtype\bf| & \verb|\tenbf| & {\normtype\bf normal bold} \\ + \verb|\normtype\it| & \verb|\tenit| & {\normtype\it normal italic}\\ + \verb|\medtype| & \verb|\twelverm| & {\medtype medium Roman} \\ + \verb|\medtype\bf| & \verb|\twelvebf| & {\medtype\bf medium bold} \\ + \verb|\medtype\it| & \verb|\twelveit| & {\medtype\it medium italic}\\ + \verb|\bigtype| & \verb|\bigfont| & {\bigtype big bold} \\ + \verb|\Bigtype| & \verb|\Bigfont| & {\Bigtype Big bold} \\ + \verb|\BIgtype| & \verb|\BIgfont| & {\BIgtype BIg bold} \\ + \verb|\BIGtype| & \verb|\BIGfont| & {\BIGtype BIG bold} \\ + \verb|\smalldyn| & \verb|\ppffsixteen| & {\ppffsixteen pp ff diminuendo}\\ + \verb|\normdyn| & \verb|\ppfftwenty| & {\ppfftwenty pp ff crescendo}\\ + \verb|\meddyn| & \verb|\ppfftwentyfour| & {\ppfftwentyfour pp ff crescendo}\\[.4ex] + ~ & \verb|\ppfftwentynine| & {\ppfftwentynine pp ff diminuendo}\\[.4ex] \hline - \end{tabular} \end{center} Two other text fonts are provided for dynamic -markings. These are \keyindex{ppffsixteen}, \keyindex{ppfftwenty} and -\keyindex{ppfftwentyfour}, suitable for dynamic markings with staff sizes of -16\,pt, 20\,pt and 24\,pt respectively. The appropriate font for the current -staff size may be selected by coding \keyindex{ppff}. - -Naturally other fonts may be loaded by the user if required. -When \musixtex\ is started, the default text font is -ten point roman, equivalent to \verb|\normtype\rm|. - \subsubsection{Examples} + \end{tabular} +\end{center} + +\subsection{User-defined text fonts} + +Since \musixtex\ is a superset of \TeX, you are free to use the standard \TeX\ +machinery for defining and using any special font you desire. You must first +of course ensure that (a) all the necessary font files (e.g., \verb|bla10.tfm|, +\verb|bla10.pfb|, or equivalents) are installed in the right places in your system, (b) all +configuration files (e.g., \verb|config.ps| or equivalent) have been updated, and +(c) the \TeX\ system has been ``rehashed''. Then you can use the font just as +in any \TeX\ document, e.g. by coding \verb|\font blafont=bla10| and then +\verb|\zchar{10}{\blafont Text in user-defined font}|. + +You might also wish to replace once and for all the typefaces invoked by the +commands described in the previous section. Again, before doing this, you must +follow steps (a-c) of the previous paragraph for all fonts in questions. +\label{musixtmr} +You can use the standard bitmapped fonts which are converted to +postscript by e.g.\ \verb|dvips|, but you also may replace them +by native postscript fonts. + +As an example, you can replace the standard \verb|musixtex| fonts by +the Times series of fonts as follows: + +\begin{verbatim} +% 8pt roman, bold, and italic +\font\eightrm=ptmr7t at 8pt +\font\eightbf=ptmb7t at 8pt +\font\eightit=ptmri7t at 8pt +% 9pt +\font\ninerm=ptmr7t at 9pt +\font\ninebf=ptmb7t at 9pt +\font\nineit=ptmri7t at 9pt +% 10pt +\font\tenrm=ptmr7t +\font\tenbf=ptmb7t +\font\tenit=ptmri7t +% 12pt +\font\twelverm=ptmr7t scaled \magstep 1 +\font\twelvebf=ptmb7t scaled \magstep 1 +\font\twelveit=ptmri7t scaled \magstep 1 +% Large fonts for titles : normal shaped Times-Roman fonts are applied +\font\bigfont=ptmr7t scaled \magstep2 % 14pt +\font\Bigfont=ptmr7t scaled \magstep3 % 17pt +\font\BIgfont=ptmr7t scaled \magstep4 % 20pt +\font\BIGfont=ptmr7t scaled \magstep5 % 25pt +% +\normtype +\end{verbatim} +The above definitions are made available in a file +\verb|musixtmr.tex|\footnote{by Hiroaki {\sc Morimoto}}, to be used as +\begin{quote}\begin{verbatim} +\input musixtex +\input musixps +\input musixtmr +... +\end{verbatim}\end{quote} + +\font\tnormtype=ptmr7t +\font\tnormtypebf=ptmb7t +\font\tnormtypeit=ptmri7t +\font\tbigtype=ptmr7t scaled \magstep2 +\font\tBIgtype=ptmr7t scaled \magstep4 + +\noindent Here's a comparison of some of the Computer Modern Roman and Times Roman fonts: \begin{center} \begin{tabular}{ll} \hline - Size and style & Example \\ - \hline - \verb|\smalltype| & {\smalltype small roman} \\ - \verb|\smalltype\bf| & {\smalltype\bf small bold} \\ - \verb|\smalltype\it| & {\smalltype\it small italic} \\ - \verb|\normtype| & {\normtype normal roman} \\ - \verb|\normtype\bf| & {\normtype\bf normal bold} \\ - \verb|\normtype\it| & {\normtype\it normal italic}\\ - \verb|\medtype| & {\medtype medium roman} \\ - \verb|\medtype\bf| & {\medtype\bf medium bold} \\ - \verb|\medtype\it| & {\medtype\it medium italic}\\ - \verb|\bigtype| & {\bigtype big bold} \\ - \verb|\Bigtype| & {\Bigtype Big bold} \\ - \verb|\BIgtype| & {\BIgtype BIg bold} \\ - \verb|\BIGtype| & {\BIGtype BIG bold} \\ - \verb|\ppffsixteen| & {\ppffsixteen pp ff diminuendo}\\ - \verb|\ppfftwenty| & {\ppfftwenty pp ff crescendo}\\ - \verb|\ppfftwentyfour| & {\ppfftwentyfour pp ff crescendo}\\ + {\normtype normal (10pt) cm Roman} & {\tnormtype normal Times Roman} \\ + {\normtype\bf normal cm bold} & {\tnormtypebf normal Times bold} \\ + {\normtype\it normal cm italic} & {\tnormtypeit normal Times italic}\\ + {\bigtype cm big} & {\tbigtype Times big} \\ + {\BIgtype cm BIg } & {\tBIgtype Times BIg bold} \\ \hline \end{tabular} \end{center} + +\subsection{Text placement}\label{textplacement} +Special macros are provided to allow precise placement of any \TeX\ text, vertically +relative to the staff, and horizontally relative to any note in +the staff. + +The macros in the first group will vertically position the text with the +baseline at any specified pitch or staff line. They must be used +inside \verb|\notes...\enotes|. They will not insert any additional +horizontal space. They have the forms +\keyindex{zcharnote}\pitchp\verb|{|\ital{text}\verb|}|, \keyindex{lcharnote}\pitchp\verb|{|\ital{text}\verb|}|, +and \keyindex{ccharnote}\pitchp\verb|{|\ital{text}\verb|}|, +where \ital{p} is the pitch. With the first one, text will spill to the right +from the current insertion point, with the second it will spill to the left, and with the +third it will be centered horizontally. + +There are similar macros \keyindex{zchar}\pitchp\verb|{|\ital{text}\verb|}|, +\keyindex{lchar}\pitchp\verb|{|\ital{text}\verb|}|, and \keyindex{cchar}\pitchp\verb|{|\ital{text}\verb|}|, +which differ from the previous three in that the pitch \ital{must} be given with +a number (representing the number of staff positions up from the lowest line), +and that the number need not be an integer. + +To vertically position any text midway between two consecutive staves, use +\keyindex{zmidstaff}\verb|{|{\it text}\verb|}|, \keyindex{lmidstaff}\verb|{|{\it text}\verb|}|, +or \keyindex{cmidstaff}\verb|{|{\it text}\verb|}| at the appropriate point in the lower staff. + +The macros \keyindex{uptext}\verb|{|\ital{text}\verb|}| and +\keyindex{Uptext}\verb|{|\ital{text}\verb|}| are simply shorthands for +\verb|\zchar{10}{|\ital{text}\verb|}| and \verb|\zchar{14}{|\ital{text}\verb|}| respectively. + +The text items handled by all of the above macros can include any appropriate +string of \TeX\ +control sequences, including font definitions, \verb|\hbox|'es, etc. + +Material posted with any of the macros described in this section will not +create any additional horizontal or vertical space within the current system, +and will overwrite anything in the current system that gets in the way. It is +the typesetter's responsibility to ensure there is adequate white space +within the current system to accommodate any text emplaced with +these macros. On the other hand, if text is emplaced far above or below a +system, \musixtex\ will usually insert additional vertical space if needed. + +\subsection{Rehearsal marks} + +Rehearsal marks are usually +boxed or circled uppercase letters or digits. They can be defined using the macros +\keyindex{boxit}\verb|{|\ital{text}\verb|}| or +\keyindex{circleit}\verb|{|\ital{text}\verb|}|. For boxed text, +the margin between the text and box is controlled by the dimension +register \keyindex{boxitsep}, which can be reset to any \TeX\ dimension if the +default value of \verb|3pt| is unsatisfactory. To emplace the mark, use \verb|\Uptext| or +any of the other macros defined in the previous section. + + +\section{Miscellaneous other notations} +%avre \subsection{Metronomic indications} -Metronomic indication deserves a special macro. The mention: +%Metronomic indication deserves a special macro. The mention: +% +%\medskip +%\centerline{\def\nbinstruments{0}\metron{\hup}{60}} +% +%\smallskip\noindent +%is coded by \keyindex{metron}\verb|{\hup}{60}| (normally embedded in +%\keyindex{Uptext} which is in turn embedded within \verb|\notes...\enotes|). +% +% On the other hand, music writers sometimes want to specify that the duration +%of a previous note is equal to a distinct furthernote. Thus +% +% \smallskip +%\centerline{\def\nbinstruments{0}\metronequiv{\qup}{\qu}} +% +%\smallskip\noindent +%is coded by \keyindex{metronequiv}\verb|{\qup}{\qu}|. + +By way of example, the notations~~~{\def\nbinstruments{0} +\metron{\hup}{60}}~~~and~~~{\def\nbinstruments{0}\metronequiv{\qup}{\qu}}~~~are +respectively coded as +\keyindex{metron}\verb|{\hup}{60}| and \keyindex{metronequiv}\verb|{\qup}{\qu}|, +which are normally emplaced using \keyindex{Uptext}. -\medskip -\centerline{\def\nbinstruments{0}\metron{\hup}{60}}\smallskip\noindent -is coded by \keyindex{metron}\verb|{\hup}{60}| (normally embedded in -\keyindex{Uptext} which is in turn embedded within \verb|\notes...\enotes|). \subsection{Accents} -\begin{itemize} - \item \keyindex{upz}~$p$ (upper \ital{pizzicato}) to put a dot above a note + +You may use\footnote{Note from the editor: the reason the names of some of +these macros don't seem to be constructed to suggest the terms used in the +descriptions is that whoever originally defined the macros had in mind terms +that did not agree with normal English usage.} +\begin{itemize}\setlength{\itemsep}{0ex} + \item \keyindex{upz}\pitchp~(upper \itxem{staccato}) to put a dot above a note head at pitch $p$, - \item \keyindex{lpz}~$p$ (lower \ital{pizzicato}) to put a dot below a note + \item \keyindex{lpz}\pitchp~(lower \ital{staccato}) to put a dot below a note head at pitch $p$, - \item \keyindex{usf}~$p$ (upper \itxem{sforzando}) to put a $>$ accent above + \item \keyindex{usf}\pitchp~(upper \itxem{sforzando}) to put a $>$ accent above a note head at pitch $p$, - \item \keyindex{lsf}~$p$ (lower \itxem{sforzando}) to put a $>$ accent below + \item \keyindex{lsf}\pitchp~(lower \itxem{sforzando}) to put a $>$ accent below a note head at pitch $p$, - \item \keyindex{ust}~$p$ (upper \itxem{staccato} or \itxem{portato}) to put a + \item \keyindex{ust}\pitchp~(upper \itxem{tenuto}) to put a hyphen above a note head at pitch $p$, - \item \keyindex{lst}~$p$ (lower \ital{staccato} or \ital{portato}) to put a + \item \keyindex{lst}\pitchp~(lower \ital{tenuto}) to put a hyphen below a note head at pitch $p$, - \item \keyindex{uppz}~$p$ (upper strong \ital{pizzicato}) to put an -apostrophe above a note head at pitch $p$, - \item \keyindex{lppz}~$p$ (lower strong \ital{pizzicato}) to put a reversed -apostrophe below a note head at pitch $p$. - \item \keyindex{usfz}~$p$ (upper \ital{sforzato}) to put a -`roof' above a note head at pitch $p$, - \item \keyindex{lsfz}~$p$ (lower \ital{sforzato}) to put a reversed -`roof' below a note head at pitch $p$. - \item \keyindex{upzst}~$p$ (upper \ital{portato/staccato}) to put a -combined portato/staccato sign above a note head at pitch $p$, - \item \keyindex{lpzst}~$p$ (lower \ital{portato/staccato}) to put a -combined portato/staccato sign below a note head at pitch $p$. - \item \keyindex{flageolett}~$p$ to put a -thin circle above a note head at pitch $p$. - \item \keyindex{upbow} to indicate a bowing for strings in upper direction. - \item \keyindex{downbow} opposite to {\Bslash upbow}. + \item \keyindex{uppz}\pitchp~(upper \itxem{staccatissimo}) to put a solid vertical +wedge above a note head at pitch $p$, + \item \keyindex{lppz}\pitchp~(lower \ital{staccatissimo}) to put an inverted +solid vertical wedge below a note head at pitch $p$, + \item \keyindex{usfz}\pitchp~(upper \itxem{forzato}) to put a +``dunce cap'' above a note head at pitch $p$, + \item \keyindex{lsfz}\pitchp~(lower \ital{forzato}) to put an inverted +``dunce cap'' below a note head at pitch $p$, + \item \keyindex{upzst}\pitchp~(upper \itxem{staccato/tenuto}) to put a +dot and a hyphen above a note head at pitch $p$, + \item \keyindex{lpzst}\pitchp~(lower \ital{staccato/tenuto}) to put a +dot and a hyphen below a note head at pitch $p$, + \item \keyindex{flageolett}\pitchp~to put a +small circle above a note head at pitch $p$. \end{itemize} -Because whole notes (breve, arbitrary, ...) have a different note head width -the accents appear not centered above them. Therefore you can use -\keyindex{wholeshift}\verb|{|\ital{text}\verb|}| which centers accents -and others -which are centered above a quarter note head to appear centered above -a whole note. This is used for e.g.~\verb|\Fermataup|. - -Also available are the variants\footnote{Thanks to Klaus {\sc Bechert}'s -corrections.} of the most used accents which will be automatically positioned -above or below a beam. Therefore the known accents are preceeded with the -letter `b' and, instead of the pitch, the beam reference number is appended as -an argument. Thus +These marks are horizontally centered relative to solid note heads. To +compensate for the fact that whole notes are wider, you should use +\keyindex{wholeshift}\verb|{|\ital{Any nonspacing macro}\verb|}| to center accents +and other items (e.g.~\verb|\Fermataup|) above a whole note. + +There are also variants of the most common accents\footnote{Thanks to Klaus +{\sc Bechert}'s corrections.} which will be automatically positioned +above or below a beam. They are spelled like the corresponding normal +accent, but preceded with the letter \verb|b|, and their argument, instead of +the pitch, is the beam reference number . Thus \medskip -\begin{music} +\begin{music}\nostartrule \startextract \Notes\ibu0f3\busfz0\qb0f\bupz0\qb0g\bust0\qb0h% \buppz0\qb0i\busf0\qb0j\butext0\tqh0k\en \Notes\Ibl0lg5\blsfz0\qb0l\blpz0\qb0k\blst0\qb0j% \blppz0\qb0i\blsf0\qb0h\bltext0\tqb0g\en -\endextract +\zendextract \end{music} -\noindent was coded as: -\begin{verbatim} -\startextract +\noindent was coded as +\begin{quote}\begin{verbatim} \startextract \Notes\ibu0f3\busfz0\qb0f\bupz0\qb0g\bust0\qb0h% \buppz0\qb0i\busf0\qb0j\butext0\tqh0k\en \Notes\Ibl0lg5\blsfz0\qb0l\blpz0\qb0k\blst0\qb0j% \blppz0\qb0i\blsf0\qb0h\bltext0\tqb0g\en -\endextract -\end{verbatim} +\zendextract +\end{verbatim}\end{quote} \zkeyindex{busfz} \zkeyindex{bupz} \zkeyindex{bust} @@ -4067,26 +5192,49 @@ an argument. Thus \zkeyindex{blppz} \zkeyindex{blsf} \zkeyindex{bltext} - \subsection{*Indication of \ital{x}-tuplets} - Triplets and other $x$-tuplets --- in practice the italic numbers \ital{3}, -\ital{4}, \ital{5}, etc. can be set at the right horizontal/vertical position -invoking the \keyindex{triolet} or \keyindex{xtuplet} macros at the leftmost -position of the group, i.e. before the first note is coded. +The macros \verb|\bltext| and \verb|\butext| are detailed in the next section, +where the mystery of why they produce the number 3 is resolved. + - {\Bslash triolet} has only one argument, the pitch of the bottom of the -figure 3, {\Bslash xtuplet} has two arguments: the figure and its pitch. +\subsection{Numbers and brackets for xtuplets}\label{tuplet} -If the figure has to be put above an upper beam or below a lower beam, using -the macros \keyindex{butext} (above) and \keyindex{bltext} (below) is advisable -to post the figure above or below the given beam. {\Bslash butext} -and {\Bslash bltext} have one argument, namely the beam number (namely the -same as the first argument of commands such as {\Bslash ibu} or {\Bslash -Ibu}). If the group of notes is not a triolet, the actual figure has to be -changed, redefining the macro \keyindex{txt} which is set up by default to: +The following table lists all the special macros that place a number indicating +an xtuplet. Some also place a bracket above or below the notes, and are +intended for use with unbeamed notes. +In the table, $p$ is a pitch, $k$ is a number, $n$ is a beam number, +$w$ is a bracket width in \verb|\internote|s, and $s$ is the bracket slope as +a multiple of 1.125 degrees. The macro \verb|\txt| contains a default number +and its font, which will be emplaced by the first and third through sixth macros, +and is initially defined as \verb|\def\txt{\eightit 3}|. The macro +\verb|\tuplettxt| serves the same role for the last two macros. The first four +are to be used with beamed xtuplets. As indicated in the +last column, the last four produce a sloping bracket and are to be used with +unbeamed xtuplets. The last two require the extension file +\verb|tuplet.tex| to be input right after \verb|\input musixtex|. -\verb|\def\txt{\eightit 3}%| +\begin{center} + \begin{tabular}{lclcc} + \hline + ~ & Number & ~ & Needs & ~ \\ + Macro and arguments & printed & Where invoked & \verb|tuplet.tex|? & Bracket \\ + \hline + \verb|\triolet|\pitchp & \verb|\txt| & before beam & no & none \\ + \verb|\xtuplet|\itbrace{k}\pitchp & $k$ & before beam & no & none \\ + \verb|\butext|\itbrace{n} & \verb|\txt| & before note at number & no & none \\ + \verb|\bltext|\itbrace{n} & \verb|\txt| & before note at number & no & none \\ + \verb|\uptrio|\pitchp\itbrace{w}\itbrace{s} & \verb|\txt| & before first note & no & solid \\ + \verb|\downtrio|\pitchp\itbrace{w}\itbrace{s} & \verb|\txt| & before first note & no & solid \\ + \verb|\uptuplet|\pitchp\itbrace{w}\itbrace{s} & \verb|\tuplettxt| & before first note & yes & with gap \\ + \verb|\downtuplet|\pitchp\itbrace{w}\itbrace{s} & \verb|\tuplettxt| & before first note & yes & with gap \\ + \hline + \end{tabular} +\end{center} +\medskip + +Here are some examples of the first six macros in the table:\\ +\vskip-3pt \begin{music} \parindent0mm \generalmeter{\meterfrac24} @@ -4097,61 +5245,114 @@ changed, redefining the macro \keyindex{txt} which is set up by default to: \notesp\ibslurd0k\Ibl0km2\qb0k\bltext0\qb0l\tdbslur0m\tqb0m\en\bar \Notesp\triolet o\isluru0l\ql{lm}\tslur0n\ql n\en\bar \Notesp\uptrio o16\ql l\en\notesp\cl n\en -\Notesp\uptrio p16\ql m\en\notesp\cl o\en +%avrb +\Notesp\downtrio O16\qu e\en\notesp\cu g\en +%avre \endpiece +whose coding is \begin{quote}\begin{verbatim} \notesp\xtuplet6n\isluru0l\ibl0l0\qb0{lllll}\tslur0l\tqb0l\en\bar \notesp\triolet n\isluru0l\Ibl0ln2\qb0{lm}\tslur0n\tqb0n\en \notesp\ibslurd0k\Ibl0km2\qb0k\bltext0\qb0l\tdbslur0m\tqb0m\en\bar \Notesp\triolet o\isluru0l\ql{lm}\tslur0n\ql n\en\bar \Notesp\uptrio o16\ql l\en\notesp\cl n\en -\Notesp\uptrio p16\ql m\en\notesp\cl o\en +\Notesp\downtrio O16\qu e\en\notesp\cu g\en \end{verbatim}\end{quote} \end{music} \zkeyindex{xtuplet}\zkeyindex{triolet} -%\xtuplet{text}{pitch} -% centers text(3 on second note, 4 between second and thirdnote, -% 5 on third note) on notes (-> \triolet{pitch}) - \subsection{*Usual ornaments} - \subsubsection{Arpeggios} -\ital{Arpeggios} (i.e.~~~\arpeggio{-2}3) can be coded with the macro +\medskip +Next are examples using the macros from \verb|\tuplet.tex|. Comparison of the +coding with the printed result reveals that (a) a redefinition of +\verb|\tuplettxt| inside a notes group only applies inside that group and +leaves the default definition intact (bar 2), +(b) the default definition is +\verb|\def\tuplettxt{\ppffsixteen3}|, a 10-pt bold extended italic numeral 3 +which may be larger and heavier than desired (first set, bar 3) (c) to get the +number properly centered in the gap, you must include some extra spaces after +the number in the definition of \verb|\tuplettxt|, and (d) as you can see in +the last bar, if the span becomes to small, the macros still won't provide +enough room for the number in the gap; in this case it would be better to +use to the macros without gaps. + +% Examples: +% +% Draw a triplet bracket over the notes, starting at pitch "p", +% 1.25\noteskip wide, with a slope up of 3-3/8 degrees: +% +% \uptuplet p{1.25}3 +% +% Draw a sextuplet bracket under the notes, starting at pitch "a", +% 2.5\noteskip wide, with a slope down of 4-1/2 degrees: +% +% \def\tuplettxt{\smallppff 6\/\/} +% \downtuplet{a}{2.5}{-4} -\keyindex{arpeggio} $pm$ - -\noindent where $p$ is the pitch of -the base of the arpeggio symbol and $m$ is its multiplicity (one period is -equal to one space between staff lines, i.e. 5 points). This macro causes -no spacing. If should be issued before the concerned -chords. Its variant \keyindex{larpeggio} sets the arpeggio symbol nearly -one note head width on the left, in order to avoid collision with accidentals -in front of the chords. - - \subsubsection{Trills} - Trills\index{trills} can be coded in several ways. -\keyindex{trille}~$pl$ (where $p$ is the pitch and $l$ is a number of current -\ital{noteskip}) yields \hbox to 1cm{\noteskip1cm\trille11\hss} while -\keyindex{Trille}~$pl$ yields \hbox to 2cm{\noteskip1cm\Trille12\hss}. - - For longer trills expanding over bars and line breaks, a better way consists -in specifying the beginning with \keyindex{Itrille}~$np$ where $n$ is the -trill reference number ($0\le n<6=$\keyindex{maxtrills}) and terminate it with -the command \keyindex{Ttrille}~$n$. If one wants the {\it tr} mention at the -beginning, then one should use \keyindex{ITrille}~$np$. The ancient commands -\keyindex{itrille}, \keyindex{ttrille}~$p$ and \keyindex{tTrille}~$p$ still -work but beware that their syntax is different, that the opening and the -closing must be in the same bar and that the use the same registers as -\verb|\Itrille 0|. +\begin{music} +\input tuplet +\parindent0mm +\generalmeter{\meterfrac24} +%\startpiece +\startextract +\addspace\afterruleskip +\notesp\triolet o\Ibl0ln2\qb0{lm}\tqb0n\en +\notesp\Ibl0km2\qb0k\bltext0\qb0l\tqb0m\en\bar +\notesp\def\tuplettxt{\eightit 5\/\/}\uptuplet o{4.1}2\cl{jklmn}\en\bar +\Notesp\uptuplet o16\ql l\en\notesp\cl n\en +\def\tuplettxt{\eightit 3\/\/} +\Notesp\downtuplet O16\qu e\en\notesp\cu g\en\bar +\notesp\uptuplet o16\ccl l\en\notesp\cccl n\en +\notesp\downtuplet O16\ccu e\en\notesp\cccu g\en +%\endpiece +\endextract +\end{music} -\medskip -\begin{remark} \verb|trille| and \verb|Trille| also exist in \musictex. -Unfortunately, the same macro names do not have the same syntax and the same -semantic in both packages and {\ttxem{musixcpt.tex}} forces the behaviour and -the syntax of \musictex. A solution to this problem consists in using -\keyindex{trilleC} and \keyindex{TrilleC} to have the \musictex{} behaviour, -and \keyindex{trilleX} and \keyindex{TrilleX} to have the \musixtex{} -behaviour, even when {\tt musixcpt} is invoked. -\end{remark} +\noindent with coding + +\begin{quote}\begin{verbatim} +\input tuplet +\parindent0mm\generalmeter{\meterfrac24} +\startextract\addspace\afterruleskip +\notesp\triolet o\Ibl0ln2\qb0{lm}\tqb0n\en +\notesp\Ibl0km2\qb0k\bltext0\qb0l\tqb0m\en\bar +\notesp\def\tuplettxt{\eightit 5\/\/}\uptuplet o{4.1}2\cl{jklmn}\en\bar +\Notesp\uptuplet o16\ql l\en\notesp\cl n\en +\def\tuplettxt{\eightit 3\/\/} +\Notesp\downtuplet O16\qu e\en\notesp\cu g\en\bar +\notesp\uptuplet o16\ccl l\en\notesp\cccl n\en +\notesp\downtuplet O16\ccu e\en\notesp\cccu g\en +\endextract +\end{verbatim}\end{quote} + + \subsection{Ornaments} + + \subsubsection{Arpeggios} +\ital{Arpeggios} (i.e.~~~\arpeggio{-2}3) can be coded with the macro +\keyindex{arpeggio}\pitchp\itbrace{m} +where $p$ is the pitch of +the base of the arpeggio symbol and $m$ is its height in units of +\verb|\interligne|, the distance from one staff line to the next. It should be +issued before the affected chord. It is +automatically positioned to the left of the chord, but inserts no spacing. +Its variant \keyindex{larpeggio} sets the arpeggio symbol roughly +one note head width to the left of the default position, and is intended to +avoid collision with single accidentals on chord notes. + + \subsubsection{Arbitrary length trills} + There are two styles of arbitrary length trills\index{trills}, each with two +variants. +For a trill with preassigned length, use \keyindex{trille}\pitchp\itbrace{l} +for \hbox to 1cm{\noteskip1cm\trille11\hss} or +\keyindex{Trille}\pitchp\itbrace{l} for~~\hbox to +2cm{\noteskip1cm\Trille12\hss}, where $p$ is the pitch and $l$ the length in +current \verb|\noteskips|. + +To let \musixtex\ compute the length of the trill, or if it extends across a +system break, you can use \keyindex{Itrille}$n$\pitchp\ to start a plain +trill, where $n$ is a trill reference number between 0 and 6; then +\keyindex{Ttrille}$n$ to terminate it. To get the {\it tr} at the +beginning, use \keyindex{ITrille}$n$\pitchp\ to start the trill and +\verb|\Ttrille|$n$ to close it. For example: @@ -4173,7 +5374,7 @@ For example: \end{music} whose coding is \begin{quote}\begin{verbatim} -\begin{music} +\begin{music}\nostartrule \instrumentnumber{1} \setstaffs12 \setclef1{6000} @@ -4190,10 +5391,10 @@ whose coding is \end{verbatim}\end{quote} \subsubsection{Piano pedal commands} - \keyindex{PED} inserts the piano pedal command below the staff; pedal release -is specified by \keyindex{DEP}; also available are shorter variants of the -pedal signs which are invoked with \keyindex{sPED} and \keyindex{sDEP}; thus -the following example +The macro \keyindex{PED} inserts a piano pedal command below the staff; +\keyindex{DEP}, a pedal release. Alternate symbols, the first of which +occupies less space, are invoked with \keyindex{sPED} and \keyindex{sDEP}. +For example, \begin{music} \setclef1\bass @@ -4210,9 +5411,8 @@ the following example \Notes\sDEP\enotes \endextract \end{music} - \noindent was coded as: \begin{quote}\begin{verbatim} - \NOtes\PED\wh J|\qu -h\enotes + \noindent was coded as \begin{quote}\begin{verbatim} + \NOtes\PED\wh J|\qu h\enotes \NOtes|\qu g\enotes \NOtes|\hu k\enotes \Notes\DEP\enotes \bar @@ -4224,74 +5424,120 @@ h\enotes The vertical position of \keyindex{PED}, \keyindex{sPED}, \keyindex{DEP} and \keyindex{sDEP} can be -globally changed by redefining its elevation, which is setup by default to - -\verb|\def|\keyindex{raiseped}\verb|{-5}%| - -If you only want to change a few of them, you can use the more fundamental +globally changed by redefining its elevation, which has the default +definition \verb|\def|\keyindex{raiseped}\verb|{-5}|. +To locally change the vertical position of a pedal symbol, use one of the more +fundamental macros \keyindex{Ped}, \keyindex{sPed}, \keyindex{Dep} and \keyindex{sDep} in combination with \keyindex{zchar} or \keyindex{zcharnote}. - - Since the \hbox to 1cm{ \Ped\hss} symbol is rather wide, it might collide -with bass notes in an ugly way. Then a solution consists in shifting if to the -left, by coding \verb|\loff{\PED}|. +Since the \hbox to .7cm{ \Ped\hss} symbol is rather wide, it might collide +with adjacent bass notes. To shift it horizontally, you could use \verb|\loff{\PED}|. \subsubsection{Other ornaments}\index{ornaments} - \begin{itemize} - \item \keyindex{mordent}~$p$ for \hbox to .75em{\mordent 0\hss}, - \item \keyindex{Mordent}~$p$ for \hbox to 1.5em{\kern 0.6em\Mordent 0\hss}, - \item \keyindex{shake}~$p$ for \hbox to .75em{\shake 0\hss}, - \item \keyindex{Shake}~$p$ for \hbox to 1.5em{\kern 0.6em\Shake 0\hss}, - \item \keyindex{Shakel}~$p$ for \hbox to 1.5em{\kern 0.6em\Shakel 0\hss}, - \item \keyindex{Shakesw}~$p$ for \hbox to 1.5em{\kern 0.6em\Shakesw 0\hss}, - \item \keyindex{Shakene}~$p$ for \hbox to 1.5em{\kern 0.6em\Shakene 0\hss}, - \item \keyindex{Shakenw}~$p$ for \hbox to 1.5em{\kern 0.6em\Shakenw 0\hss}, - \item \keyindex{turn}~$p$ for \hbox to 1.5em{\kern 0.6em\turn 0\hss}, - \item \keyindex{backturn}~$p$ for \hbox to 1.5em{\kern 0.6em\backturn 0\hss}, - \item \keyindex{fermataup}~$p$ puts a \itxem{fermata} at pitch $p$. -No spacing occurs. - \item \keyindex{fermatadown}~$p$ puts a reverse \ital{fermata} at the same -place. - \item \keyindex{Fermataup}~$p$ puts a \itxem{fermata} at pitch $p$ centered -above a whole note. No spacing occurs. - \item \keyindex{Fermatadown}~$p$ puts a reverse \ital{fermata} at the same -place. - \item A big \itxem{breathing} comma can be put above the staff --- to -indicate where the singer is welcome to breath, or to indicate a short rest ---- using \keyindex{zbreath} (no spacing) or \keyindex{cbreath} (centred in a -\verb|\noteskip| space). The \musictex\ \keyindex{breath} is no more available -since it involved a ``hard'' spacing of the width of that character, which -resulted in troubles with \musixtex. - - \item The \keyindex{caesura} command can also be used to insert a small -slash, such as +The argument $p$ in the following macros for ordinary ornaments is the +pitch at which the ornament itself appears. They are all nonspacing macros. +You may use +\begin{itemize}\setlength{\itemsep}{0ex} + \item \keyindex{mordent}\pitchp\ for \hbox to .75em{\mordent 0\hss}, + \item \keyindex{Mordent}\pitchp\ for \hbox to 1.5em{\kern 0.6em\Mordent 0\hss}, + \item \keyindex{shake}\pitchp\ for \hbox to .75em{\shake 0\hss}, + \item \keyindex{Shake}\pitchp\ for \hbox to 1.5em{\kern 0.6em\Shake 0\hss}, + \item \keyindex{Shakel}\pitchp\ for \hbox to 1.5em{\kern 0.6em\Shakel 0\hss}, + \item \keyindex{Shakesw}\pitchp\ for \hbox to 1.5em{\kern 0.6em\Shakesw 0\hss}, + \item \keyindex{Shakene}\pitchp\ for \hbox to 1.5em{\kern 0.6em\Shakene 0\hss}, + \item \keyindex{Shakenw}\pitchp\ for \hbox to 1.5em{\kern 0.6em\Shakenw 0\hss}, + \item \keyindex{turn}\pitchp\ for \hbox to 1.5em{\kern 0.6em\turn 0\hss}, + \item \keyindex{backturn}\pitchp\ for \hbox to 1.5em{\kern 0.6em\backturn 0\hss}. + \end{itemize} -\begin{music} +In the following macros for fermatas, the argument $p$ is the pitch of the +notehead on which the fermata rests, assuming no additional vertical +adjustments are needed for stems or intervening staff lines. They are all +nonspacing macros. You may use +\begin{itemize}\setlength{\itemsep}{0ex} + \item \keyindex{fermataup}\pitchp\ for +\raisebox{0ex}[0ex][0ex]{\notesintext{\notes\fermataup1\en}}, +\end{itemize} +\begin{itemize}\setlength{\itemsep}{3ex} + \item \keyindex{fermatadown}\pitchp\ for +\raisebox{0ex}[0ex][0ex]{\notesintext{\notes\fermatadown2\en}}, + \item \keyindex{Fermataup}\pitchp\ for +\raisebox{-1ex}[-1ex][0ex]{\musicintextnoclef{\notes\Fermataup 7\zwh{'c}\en}}~, +centered over a whole note, + \item \keyindex{Fermatadown}\pitchp\ for +\raisebox{-1ex}[0ex][0ex]{\musicintextnoclef{\notes\Fermatadown1\zwh{'c}\en}}~, +centered under a whole note. + \end{itemize} +\bigskip + +A \itxem{breath} mark +\raisebox{-5ex}[0ex][0ex]{\notesintext{\notes\zbreath\en}} +can be put just above the staff with \keyindex{zbreath}. This is a nonspacing +macro. On the other hand, \keyindex{cbreath} will cause a space of one +\verb|\noteskip| and place the comma midway through the space. + +The \keyindex{caesura} command inserts a slash \verb|0.5\noteskip| before +the place it is entered, while adding no space: + +\begin{music}\nostartrule \startextract \NOTes\zhu j\hl{^e}\caesura\en \Notes\zcu j\cl e\en -\endextract +\zendextract \end{music} - \end{itemize} - - \subsection{Dynamic signs} Various -dynamic signs can be posted with -\keyindex{crescendo}\verb|{|$l$\verb|}| or -\keyindex{decrescendo}\verb|{|$l$\verb|}|, to be used as arguments to -\verb|\zcharnote|, \verb|\zchar|, \verb|\uptext|, \verb|\zmidstaff|, etc. - -Note: The biggest sign is $\simeq$ 68 mm long. - -Alternately they can be produced using the pair of \keyindex{icresc} and -\keyindex{tcresc} or \keyindex{tdecresc}. Saying one time \verb|\icresc| you -can force several \verb|\tcresc| or \verb|\tdecresc| with the same starting -abscissa. Tha altitude of the [de]crescendo symbol is specified, not by the -\verb|\icresc| macro which only defines the stating abscissa, but by the -\verb|\tcresc| or \verb|\tdecresc| which is normally lifted up or down by -means of a \verb|\zmidstaff| or a \verb|\zcharnote| command whose first -argument has to be adjusted according to your visual needs. +\subsection{Alphabetic dynamic marks} + Conventional dynamic symbols +\pppp, \ppp, \pp, +\p, +\mezzopiano, +\mf, +\f, +\fp, +\sF, +\ff, +\fff\ and +\ffff\ can be posted using the macros +\keyindex{pppp}, +\keyindex{ppp}, +\keyindex{pp}, +\keyindex{p}, +\keyindex{mp}, +\keyindex{mf}, +\keyindex{f}, +\keyindex{fp}, +\keyindex{sF}, +\keyindex{ff}, +\keyindex{fff}, +\keyindex{ffff} respectively as the second argument of \verb|\zcharnote| or +\verb|\ccharnote|. + +\subsection{Hairpins (crescendos and decrescendos)}\label{sec:crescnd} + +The syntax and properties of hairpins will differ depending on whether or not you +have input \verb|musixps.tex|, which activates not only type K postscript slurs and +ties but hairpins as well. The font-based variety are always horizontal, +are limited in length, and cannot span system breaks. Using the postscript variety +removes all these restrictions, but they will not be visible in DVI previewers. + +\subsubsection{Font-based hairpins} + +There are two categories of font-based hairpins. The first type requires only +one command, \keyindex{crescendo}\verb|{|$\ell$\verb|}| or +\keyindex{decrescendo}\verb|{|$\ell$\verb|}|, where $\ell$ is any \TeX{} +dimension, either a fixed one---for example in points---or a scalable one +expressed either explicitly or implicitly as some number of +\verb|\noteskip|s. These should be used as arguments to +\verb|\zcharnote|, \verb|\zchar|, \verb|\uptext|, \verb|\zmidstaff|, etc., to +post them at the desired altitude. The longest such symbol is $\simeq$ 68 mm. + +The second type of font-based hairpin requires two commands, one to start it +and another to end it. The starting macro is \keyindex{icresc}. It has no +arguments. Only one invocation suffices to start any number and combination of +crescendos and diminuendos. The ending macros are \keyindex{tcresc} or +\keyindex{tdecresc}. They should be used as arguments of \verb|\zcharnote| etc, +which will set the altitude. For example, \begin{music} \parindent0pt @@ -4303,13 +5549,13 @@ argument has to be adjusted according to your visual needs. \Notes\zmidstaff{\loff\tcresc}\cmidstaff\fff|\ca{'f}\en \endextract \end{music} -\noindent which was coded as: -\begin{verbatim} +\noindent which was coded as +\begin{quote}\begin{verbatim} \Notes\cmidstaff\ppp|\ca c\en \Notes\icresc|\ca{defgh'abcde}\en \Notes\zmidstaff{\loff\tcresc}\cmidstaff\fff|\ca{'f}\en -\end{verbatim} - +\end{verbatim}\end{quote} +\medskip\noindent while \begin{music} \parindent0pt \generalmeter{\meterfrac{12}8} @@ -4320,106 +5566,138 @@ argument has to be adjusted according to your visual needs. \Notes\zcharnote N{\tcresc}\cmidstaff\fff|\zcharnote q{\tcresc}\ca{'f}\en \endextract \end{music} -\noindent which was coded as: -\begin{verbatim} +\noindent was coded as +\begin{quote}\begin{verbatim} \Notes\cmidstaff\ppp|\ca c\en \Notes\icresc|\ca{defgh'abcde}\en \Notes\zcharnote N{\tcresc}\cmidstaff\fff|\zcharnote q{\tcresc}\ca{'f}\en -\end{verbatim} - - - Intensity conventional signs are: \keyindex{ppp}, -\keyindex{pppp}, -\keyindex{ppp}, -\keyindex{pp}, -\keyindex{p}, -\keyindex{mp}, -\keyindex{mf}, -\keyindex{f}, -\keyindex{fp}, -\keyindex{sF}, -\keyindex{ff}, -\keyindex{fff}, -\keyindex{ffff}, resulting in \pppp, \ppp, \pp, -\p, -\mezzopiano, -\mf, -\f, -\fp, -\sF, -\ff, -\fff\ and -\ffff. +\end{verbatim}\end{quote} +\subsubsection{Postscript hairpins} +As already noted, these require that you have input \verb|musixps.tex|. +Once having done that, you should not try to use font-based hairpins +because the syntax is incompatible. + +Again, +there are two different types. The first type is normally initiated with either +\keyindex{icresc}\onen~or \keyindex{idecresc}\onen, and terminated with +\keyindex{tcresc}\onen, where $n$ is a hairpin index, +which is virtually unlimited but certain restrictions apply if it exceeds 14. +The altitude is set by the value of \keyindex{setcrescheight}, which by default +is -5 and which must be expressed numerically. Note that +\keyindex{tcresc}~is the same as \keyindex{tdecresc}. + +You can shift the starting or ending point horizontally by replacing the +foregoing macros with +\keyindex{ilcresc}, \keyindex{ildecresc}, +\keyindex{ircresc}, \keyindex{irdecresc}, +\keyindex{tlcresc}, \keyindex{tldecresc}, +\keyindex{trcresc}, \keyindex{trdecresc}, +for example to make space for an alphabetic dynamic mark. + +The second form of postscript hairpin macros allows individual and arbitrary +specification of the altitude and horizontal offset. The syntax is +\keyindex{Icresc}\itbrace{n}\itbrace{h}\itbrace{s}, where $h$ is the +altitude---which must be numerical---and $s$ is the horizontal offset +in \verb|\internote|. Similar syntax obtains for \keyindex{Idecresc}\ +and \keyindex{Tcresc}. + +These hairpins may span several lines. If one of them spans three systems +then the height of the middle section can be adjusted with +\keyindex{liftcresc}\itbrace{n}\itbrace{h}. The height of the first and last +parts of a broken crescendo will be defined by the height parameter in +\keyindex{Icresc}~or \keyindex{Tcresc}. + +There are numerous other nuances and shorthand macros that are described +in the comments in \verb|musixps.tex|. + +As an example of a postscript hairpin, +\begin{music}\nostartrule +%\input smallmusixpsx +\input musixps +\generalmeter{\meterfrac{12}8} +\startextract +\Notes\ccharnote{-8}{\ppp}\Icresc0{-7}6\ca{bdegh'bde}\en +\Notes\Tcresc0{-4}{-2}\zcharnote{-5}{\fff}\ca{'f}\en +\zendextract +\end{music} +\noindent was coded as +\begin{quote}\begin{verbatim} +\input musixps +\generalmeter{\meterfrac{12}8} +\startextract +\Notes\ccharnote{-8}{\ppp}\Icresc0{-7}6\ca{bdegh'bde}\en +\Notes\Tcresc0{-4}{-2}\zcharnote{-5}{\fff}\ca{'f}\en +\zendextract +\end{verbatim}\end{quote} \subsection{Length of note stems} -%\begin{changebar} - -Normally, the length of note stems is the distance of one octave, i.e. -\verb|7\internote|. This is equivalent to 4.66 \keyindex{interbeam}. The -length of the stems may be changed using the macro \keyindex{stemlength}, e.g.: - - \verb|\stemlength{5.2}| +The default length of note stems is the distance of one octave, i.e. +\verb|7\internote| or 4.66 \keyindex{interbeam}. The default may be changed +with the macro \keyindex{stemlength}\itbrace{b}\ where $b$ is the length in +\verb|\interbeam|s. - \noindent which will set the stemlength to 5.2 \verb|\interbeam|. The default - is -\keyindex{stemlength}\verb|{4.66}|. - -Choral music with four voices is often typeset into two staffs. Thus, each -staff holds two voices, one being typeset with stems up, the other with stems -down. If the command \keyindex{stemcut} has been previously issued, stems that -are outside the staff are cut depending on the pitch of the notes. If this is -not wanted, this feature may be suppressed with the command -\keyindex{nostemcut}. The default behaviour is \keyindex{stemcut} in plain -\musixtex, and \keyindex{nostemcut} when {\ttxem{musixcpt.tex}} is invoked. +The command \keyindex{stemcut} causes stems that extend outside the staff +to be shortened depending on the pitch of the notes. It is the default +behavior. To suppress this adjustment, issue the command +\keyindex{nostemcut}. Normally, down stems never end above the middle line of the staff and up stems -never below that line. This extension of the stems may be inhibited for the -next generated stem using the command \keyindex{stdstemfalse}. There is no -\keyindex{stdstemtrue} since \keyindex{stdstemfalse} is reset after -generating each new stem. - -%\end{changebar} - +never below that line. The command \keyindex{stdstemfalse} will inhibit this +adjustment, but only for the next stem generated. There is no command to globally +suppress this behavior. - \subsection{*Brackets and parentheses} + \subsection{Brackets, parentheses, and oblique lines}\label{brapar} - -Several brackets and parentheses have been provided for musical typesetting -needs. These are: - \begin{itemize} +Several varieties of brackets, parentheses and oblique lines are provided for +use within a score. + \begin{itemize}\setlength{\itemsep}{0ex} \item \keyindex{lpar}\verb|{|$p$\verb|}| and -\keyindex{rpar}\verb|{|$p$\verb|}| which yield small -parenthesis to enclose notes. These are used for \ital{cautionary} accidentals -but more comprehensive macros fulfill that specific purpose (see \ref{cautionary}) - \item \keyindex{bracket}\verb|{|$p$\verb|}{|$n$\verb|}| to post square -brackets of width $n$-internotes at left of a chord. Usually these brackets -are used on keyboard instruments to specify, either two neighbouring notes -played with a single finger, or some chord notes to be played with the -alternate hand. - \item \keyindex{doublethumb}\verb|{|$p$\verb|}|, to indicate a bracket of -height 2\verb|\internote|. +\keyindex{rpar}\verb|{|$p$\verb|}| yield left and right +parentheses at pitch $p$. They could be used to enclose notes or to build +\ital{cautionary} accidentals, although the latter are more easily +obtained with predefined macros (see \ref{cautionary}). + +%avrb +For example, + +\begin{tabular}{ll} +\raisebox{-1.5ex}[0ex][0ex]{\musicintextnoclefn{\notes\bsk\lpar{g}\rpar{g}\hu{g}\sk% +\loffset{1.5}{\lpar{g}}\loffset{1.5}{\rpar{g}}\loffset{.4}{\sh g}\hu{g}\en}} +&\begin{tabular}{ll} +&\verb+\notes\lpar{g}\rpar{g}\hu{g}\sk%+\\ +is coded as&\verb+\loffset{1.5}{\lpar{g}}\loffset{1.5}{\rpar{g}}%+\\ +&\verb+\loffset{.4}{\sh g}\hu{g}\en}+ +\end{tabular} +\end{tabular} +%avre + + \item \keyindex{bracket}\verb|{|$p$\verb|}{|$n$\verb|}| posts a +square bracket to the left of a chord, vertically spanning $n$ +\verb|internote|s. + \item \keyindex{doublethumb}\verb|{|$p$\verb|}| indicates a bracket as +above spanning 2\verb|\internote|s. \item \keyindex{ovbkt}\verb|{|$p$\verb|}{|$n$\verb|}{|$s$\verb|}| and \keyindex{unbkt}\verb|{|$p$\verb|}{|$n$\verb|}{|$s$\verb|}| -draw a bracket over the music starting at the current position at pitch $p$, -width $n\times$\verb|noteskip| and slope $s$ (1 $\sim$ 1.125[degree]). -causing no space. +draw a sloped bracket starting at the current position at pitch $p$, +with horizontal extent $n$ \verb|noteskip|s and slope $s$ in multiples of +1-1/8 degree. \item \keyindex{uptrio}\verb|{|$p$\verb|}{|$n$\verb|}{|$s$\verb|}| and -\keyindex{downtrio}\verb|{|$p$\verb|}{|$n$\verb|}{|$s$\verb|}|, which are like -\verb|\ovbkt| but with free definable \keyindex{txt} centers in the middle. - - \item \keyindex{varline} $h$ $\ell$ $s$ builds an oblique line of height $h$ (a -dimension), of length $\ell$ and of slope $s$. Used to build oblique brackets. +\keyindex{downtrio}\verb|{|$p$\verb|}{|$n$\verb|}{|$s$\verb|}| are like +\verb|\ovbkt| but with freely definable \keyindex{txt} centered inside. -This feature is particularly useful for people who want to typeset -\itxem{baroque} music using the ancient \itxem{ornament codings} rather than -the modern equivalents. As a compromise, some macros kindly provided by Ian -{\sc Collier} in Great Britain have slightly been updated and provided. - \end{itemize} + \item \keyindex{varline}\itbrace{h}\itbrace{\ell}\itbrace{s}\ builds an +oblique line starting at the current horizontal position. It must be used +inside a zero box, such as for example as the second argument of +\verb|\zcharnote|. $h$ is the height of the starting point, $\ell$ is the +length, and $s$ is the slope. It is used in the definitions of some of +the foregoing macros, and could be used, for example, to construct various +obscure baroque ornaments made up of diagonal lines. +\end{itemize} -For example: +For example, \begin{music} \setstaffs1{2} @@ -4432,7 +5710,7 @@ For example: \NOtes\downtrio C16\qu {FH}|\uptrio o14\ql{lm}\en \endextract \end{music} -\noindent +\noindent is coded as \begin{quote}\begin{verbatim} \begin{music} \setstaffs1{2} @@ -4443,38 +5721,33 @@ For example: \NOtes\lpar c\rpar c\qu c\en \NOtes\unbkt C15\qu {FH}|\ovbkt n14\ql{kl}\en \NOtes\downtrio C16\qu {FH}|\uptrio o14\ql{lm}\en -\endextract +\zendextract \end{music} \end{verbatim}\end{quote} -\begin{remark} if you used \verb|\input musicext| before, pay attention to the -commands \keyindex{ovbkt} and \keyindex{unbkt}, their parameter meaning has -changed from \musictex{} to \musixtex. - \end{remark} - - \subsection{New line synchronization of coding} - The procedure named \keyindex{everystaff} is executed each time a new system -is typed. It is normally void, but it can be defined (simply by \verb|\def|% -\keyindex{everystaff}\verb|{...}|) to tell \musixtex\ to post anything -reasonable at the beginning of each system. It was used in the example -{NWIDOR} to post octaviation dashed lines at the end of the piece. - -Caution should be exercised to call \verb|\everystaff| before -\verb|\startpiece| if its effect is needed for the first system of the score. - - The procedure named \keyindex{atnextline}, normally void, is executed at the -next computed or forced line break (using -\keyindex{alaligne} or \keyindex{alapage}). More precisely, it is executed -after the break and before the next system is typed. Thus it is fit for -posting new definitions of layout parameters, when no system is -pending\footnote{Its logic is similar to plain \TeX's \keyindex{vadjust} -command.}. - - \index{tenor violin clef}In some scores, tenor parts are not coded using the -\ital{bass} clef, but using rather the \ital{violin clef} subscripted by a -{\tt8}. This is not directly supported by the \keyindex{setclef} -command, but it can be handled using \keyindex{everystaff} and -\keyindex{zcharnote}. -As an example the following score + + \subsection{Forcing activity at the beginning of systems} +A macro named \keyindex{everystaff} is executed each time a new system +begins. It is normally void, but it can be defined (simply by \verb|\def|% +\keyindex{everystaff}\verb|{...}|) to cause \musixtex\ to post anything +reasonable at the beginning of each system. For it to affect the first system +in a score, it must be defined \ital{before} +\verb|\startpiece|. + +If a macro named \keyindex{atnextline} is defined at any point in a score, +it will be executed just once, viz., at the next computed or forced system +break. More +precisely, it is executed after the break and before the next system begins. +Thus it is suitable for redefining layout parameters. + + \index{octave treble clef}In some scores, tenor parts are not coded using the +\ital{bass} clef, but using rather the \ital{octave treble clef}, which is +subscripted by a numeral {\tt8}. +This clef is supported by the clef substitution command +\keyindex{settrebleclefsymbol}\onen\keyindex{treblelowoct}, as already +explained in section \ref{treblelowoct}. However, if for some reason you +aren't happy with the height of the ``8'', it can be posted on selected +staves at the beginning of every system using \keyindex{everystaff} and +\keyindex{zcharnote} as follows: \begin{music} \instrumentnumber{4} @@ -4484,9 +5757,9 @@ As an example the following score &\zchar{-6}{\eightrm\kern-2\Interligne8}\en}% \startextract \NOTes\ha{HIJK}&\ha{efgh}&\ha{hijk}&\ha{hmlk}\en -\endextract +\zendextract \end{music} -\noindent was coded as: +\noindent The coding is \begin{quote}\begin{verbatim} \instrumentnumber{4} \setclef1\bass @@ -4498,27 +5771,23 @@ As an example the following score \endextract \end{verbatim}\end{quote} -\noindent{\sl{\bfseries Caution:} the \verb|\everystaff| must be called before -\verb|startpiece| in order to have that subscript at the first staff.} -\section{Small and tiny notes} -Before entering details, let us point out that we are presently concerned with -typing notes of smaller size than the normal one, without attempting to change -the interval between the five lines building a single staff. Changing staff -line interval will be treated in a further section. - \subsection{Cadenzas and explicit ornaments} - Ornaments and \itxem{cadenzas} usually need to be written using smaller -notes\footnote{This is independent of the staff size.}. This can be done -everywhere by stating \keyindex{smallnotesize} or \keyindex{tinynotesize}. -Normal note size is restored by \keyindex{normalnotesize}.\index{ornaments} - - These macros only have a local scope. Thus, if these macros are invoked -outside the \verb|\notes...\enotes| pair, the change is valid for -the rest of the piece unless explicitely modified but, if they are invoked -inside, their effect is local to the current staff of the current -\verb|\notes...\enotes| pair. -As an example, the following excerpt (beginning +\section{Smaller notes in normal-sized staves} +Here we describe how to reduce the size of note symbols without changing the +size of the staff itself. Changing overall staff size will be treated in +section \ref{staffspacing}. + +\subsection{Arbitrary sequences of notes} +Written-out ornaments and \itxem{cadenzas} are usually typeset with +smaller notes and spacing than normal. The smaller \ital{size} can be +initiated anywhere inside a \verb|\notes| group by stating +\keyindex{smallnotesize} or \keyindex{tinynotesize}. Normal note size is then +restored by \keyindex{normalnotesize} or simply by terminating the +\verb|notes| group and starting another. Smaller \ital{spacing} must also be +explicitly indicated, usually by redefining \verb|\noteskip| in some way. + +As an example, this excerpt, from the beginning of the Aria of the ``Creation'' by Joseph {\sc Haydn})\index{Haydn, J.@{\sc -Haydn, J.}} +Haydn, J.}}, \begin{music} \instrumentnumber{2} @@ -4547,7 +5816,7 @@ Haydn, J.}} \notes&\sk\tbbl0\tbl0\qb0J|\tbl1\zq c\qb1e\en \endextract \end{music} -\noindent can be coded as: +\noindent can be coded as \begin{quote}\begin{verbatim} \instrumentnumber{2} \generalmeter{\meterfrac44} @@ -4573,15 +5842,18 @@ Haydn, J.}} \notes&\sk\tbbl0\tbl0\qb0J|\tbl1\zq c\qb1e\en \endextract \end{verbatim}\end{quote} - \subsection{Grace notes} - Grace notes are a special case of small and tiny notes: the difference is -that they are always coded as eighth notes with an oblique bar over the flag. -To perform this, special variants of \keyindex{cu} and \keyindex{cl} have been -provided, namely \keyindex{grcu} and \keyindex{grcl}, with the only difference -that the flag has been slashed. Using this together with the note reduction -macro, grace notes (optionally chord grace notes) can be easily coded: -\begin{music} + \subsection{Grace notes} +Grace notes are a special case of small and tiny notes, namely single-stemmed +eighth notes with a diagonal slash through the flag. To enable this, there +are the macros \keyindex{grcu}\pitchp\ and \keyindex{grcl}\pitchp, which by +themselves would +produce normal-sized eighth notes with a slash. They should be used along +with the note size reduction macros and spacing reduction macros just +discussed. In addition, chordal grace notes can be built as in the following +example: + +\begin{music}\nostartrule \startextract \NOTes\hu h\enotes \notes\multnoteskip\smallvalue\smallnotesize\grcu j\enotes @@ -4589,9 +5861,9 @@ macro, grace notes (optionally chord grace notes) can be easily coded: \bar \notes\multnoteskip\tinyvalue\tinynotesize\zq h\grcl j\enotes \NOTEs\wh i\enotes -\endextract +\zendextract \end{music} -The previous example was coded as: +\noindent which was coded as \begin{quote}\begin{verbatim} \startextract \NOTes\hu h\enotes @@ -4600,76 +5872,137 @@ The previous example was coded as: \bar \notes\multnoteskip\tinyvalue\tinynotesize\zq h\grcl j\enotes \NOTEs\wh i\enotes +\zendextract +\end{verbatim}\end{quote} + + \subsection[Ossia]{Ossia\texorpdfstring{\protect\footnote{(Italian O sia) Or else}}{}} +This clever example had been provided by Olivier Vogel:\label{ossia} + +%\begin{center} +%\includegraphics[scale=1]{./mxdexamples/ossiavogel.eps} +%\end{center} + +\begin{music} +%\startextract +%\hsize70mm +\let\extractline\hbox +\hbox to \hsize{\hss +\def\xnum#1#2#3{\off{#1\elemskip}\zcharnote{#2}{\smalltype\it #3}% +\off{-#1\elemskip}}% +\newbox\ornamentbox +\setbox\ornamentbox=\hbox to 0pt{\kern-4pt\vbox{\hsize=2.6cm% +\makeatletter +\nostartrule\smallmusicsize\setsize1{\smallvalue}\setclefsymbol1\empty\global\clef@skip0pt% +\makeatother +%\smallmusicsize\setsize1{\smallvalue}\setclefsymbol1\empty% +%\startpiece +%\addspace{2pt}% +\startextract +\addspace{-2pt}% +\let\notest\notes\def\notes{\vnotes2.1\elemskip}% +\notes\ibbbl2{'c}0\qb2b\qb2c\qb2d\tbbbl2\qb2c\en% +\notes\xnum{1.15}{'e}3\qb2d\qb2c\tbl2\qb2d\en% +\notes\ibl2{'c}1\usf e\qb2c\en% +\notes\tbl2\qb2{'d}\en +\let\notes\notest% +%\zstoppiece% +\endextract +}\hss} +%\setbox\ornamentbox=\hbox to 0pt{Hello} +% +% +%\normalmusicsize\nopagenumbers +%\def\nbinstruments{1}% +\setstaffs12\setclef1{60}% +\generalsignature{-2}\generalmeter{\meterfrac{3}{4}}% +%\parindent 0pt% +%\stafftopmarg0pt\staffbotmarg5\Interligne\interstaff{10}\relax +%\startpiece\addspace\afterruleskip% +\startextract\addspace\afterruleskip% +\NOtes\ibl1{'G}{-1}\qb1G\sk\bigna F\tbl1\qb1F|% +\ibbl2{'b}0\qb2b\qb2a\qb2b\tbl2\qb2c\en% +\NOtes\hl{'E}\bsk\raise6\internote\ds\ibu3{G}1\bigsh F% +\qb3F\qb3G\tbu3\qb3{'A}|\zcharnote{10}{\copy\ornamentbox}\qlp{'c}\sk\sk% +\cl d\en% +%\endpiece \endextract +\hss} +%\vfill\eject\endmuflex +\end{music} + + +The code is: +\begin{quote}\begin{verbatim} +\hsize70mm% +\def\xnum#1#2#3{\off{#1\elemskip}\zcharnote{#2}{\smalltype\it #3}% +\off{-#1\elemskip}}% +\newbox\ornamentbox +\setbox\ornamentbox=\hbox to 0pt{\kern-4pt\vbox{\hsize=2.6cm% +\nostartrule\smallmusicsize\setsize1{\smallvalue}\setclefsymbol1\empty% +\startpiece\addspace{2pt}% +\notes\ibbbl2{'c}0\qb2b\qb2c\qb2d\tbbbl2\qb2c\en% +\notes\xnum{1.15}{'e}3\qb2d\qb2c\tbl2\qb2d\en% +\notes\ibl2{'c}1\usf e\qb2c\en% +\notes\tbl2\qb2{'d}\en% +\zstoppiece% +}\hss} +\normalmusicsize\nopagenumbers +\def\nbinstruments{1}% +\setstaffs12\setclef1{60}% +\generalsignature{-2}\generalmeter{\meterfrac{3}{4}}% +\parindent 0pt% +\stafftopmarg0pt\staffbotmarg5\Interligne\interstaff{10}\relax +\startpiece\addspace\afterruleskip% +\notes\ibl1{'G}{-1}\qb1G\sk\bigna F\tbl1\qb1F|% +\ibbl2{'b}0\qb2b\qb2a\qb2b\tbl2\qb2c\en% +\notes\hl{'E}\bsk\raise6\internote\ds\ibu3{G}1\bigsh F% +\qb3F\qb3G\tbu3\qb3{'A}|\zcharnote{10}{\copy\ornamentbox}\qlp{'c}\sk\sk% +\cl d\en% \end{verbatim}\end{quote} - \subsection{Other note shapes}\label{othernotes} The classical note heads -given above --- namely \raise.5ex\hbox{\musixchar7}~~, \raise.5ex -\hbox{\musixchar8}~~ and \raise.5ex\hbox{\musixchar9}~~~ ---- can be replaced with less classical note heads, for example to code -special \itxem{violin harmonic notes} or \itxem{percussion music}. See an -example in \ref{abnormalscores}. - - At present time, alternate available note heads can be found in the -extension library, see \ref{diam}, \ref{perc}, \ref{gregnotes} and \ref{litu}. - -\section{Staff size} \index{staff size} - \subsection{Moving from 20pt to 16pt, 24pt or 29pt staff sizes and -conversely} - You also want to write some parts of your score in 20pt -staff size and others in 16pt or 24pt or 28.8pt staff size, namely -for distinct parts of pieces. Changing the \ixem{general staff size} -is done by saying: - -\keyindex{smallmusicsize}, or \keyindex{normalmusicsize}, or -\keyindex{largemusicsize}, or \keyindex{Largemusicsize}. - -\noindent respectively. - \subsection{Changing staff size for certain instruments}\label{staffspacing} -Regardless of the general choice of \verb|\smallmusicsize| or -\verb|\normalmusicsize|, it is now possible to assign certain instruments -- -not separate staffs belonging to a same instrument -- to have narrower or larger -\itxem{staff size}, i.e. narrower or larger \itxem{staff spacing}. This is done using - -\keyindex{setsize} $n$\verb|{|\ital{size}\verb|}| - -\noindent where $n$ is the number of the instrument considered. Five different -\ital{sizes} are available as standards: \keyindex{normalvalue}, which is -the default, \keyindex{smallvalue} (0.80 times narrower), -\keyindex{tinyvalue} (0.64 times narrower), \keyindex{largevalue} (1.2 times -larger) and \keyindex{Largevalue} (1.44 -times larger). But, if you know perfectly what -you are doing, you can also say: - -\verb|\setsize 3{2.0}| - -\noindent which will provide the third instrument with staffs of spacing -twice the standard value. In that case, \musixtex\ will use the nearest -symbol size available, but this is likely to be rather ugly. - - An alternate -and equivalent coding --- a remnant from \musictex\ --- could be: - -\verb|\def\staffspacingiii{2.0}|\zkeyindex{staffspacing} - - - -\verb|\setsize| must be invoked before the starting command -\verb|\startpiece|, since this statement does not only change the vertical -spacing between staff lines, but it also changes the size of the key, -accidental and note symbols to fit the modified staff line spacing. - - However, it must be emphasized that non-standard staff spacings use the -nearest available font size. This make no serious problem for notes and -accidentals which may be slightly too small or too big, but clefs and rests -may appear to be shifted upwards or downwards. This trouble is progressively -removed, but it requires changing the {\tt musix*} fonts, with some possible -characters forgotten... or the fact that user uses a font older than T.60 -version. + +% +% Why is this here?? DAS 4/30/06 +% +% \subsection{Other note shapes}\label{othernotes} +% The classical note heads +%given above --- namely \raise.5ex\hbox{\musixchar7}~~, \raise.5ex +%\hbox{\musixchar8}~~ and \raise.5ex\hbox{\musixchar9}~~~ +%--- can be replaced with less classical note heads, for example to code +%special \itxem{violin harmonic notes} or \itxem{percussion music}. See an +%example in \ref{abnormalscores}. +% +% At present time, alternate available note heads can be found in the +%extension library, see \ref{diam}, \ref{perc}, \ref{gregnotes} and \ref{litu}. + +\section{Staff size} \index{staff size}\label{staffspacing} +In contrast with the prior section, here we describe how to change the sizes +of everything...staff, notes, and all other symbols. In +section~\ref{whatspecify} we saw how to set the size for all instruments at +the start of a score. Any one of the same macros---\verb|\normalmusicsize|, +\verb|\smallmusicsize|, \verb|\largemusicsize|, or +\verb|\Largemusicsize|---can be used to change the size of all instruments +midway through a score, but in this case it must come between +\verb|\stoppiece| and \verb|\startpiece|. + +Once the overall staff size is set, you can alter the size of any desired +instrument with the macro \keyindex{setsize}\itbrace{n}\itbrace{s}, where +$n$ is the instrument number and $s$ is a factor by which the size is to be +changed from the prevailing overall size. There are five predefined macros +that should be used for the size factor $s$. Their names and respective values +are \keyindex{normalvalue}~(1.0), \keyindex{smallvalue}~(0.80), +\keyindex{tinyvalue}~(0.64), \keyindex{largevalue}~(1.2), and +\keyindex{Largevalue}~(1.44). \musixtex\ should not crash if you use an +explicit number different from any of these, but the result may be +less than satisfactory. + +Once again, if used at the beginning of a piece, the \verb|\setsize| macro +must precede \verb|\startpiece| (not \verb|\contpiece|), and if used after +the beginning, must be preceded by \verb|\stoppiece|. As an example, we give two bars of the \ital{Ave Maria} by Charles {\sc Gounod}\index{Gounod, C.@{\sc Gounod, C.}}, based on the first prelude of -Johann-Sebastian Bach's \ital{Well Tempered Clavier} (transcription for -organ, violin and voice, thanks to Markus {\sc Veittes}):\label{avemaria} +J. S. Bach's \ital{Well Tempered Clavier}, as transcribed for +organ, violin and voice by Markus {\sc Veittes}:\label{avemaria} \begin{music} \def\oct{\advance\transpose by 7} @@ -4742,330 +6075,196 @@ organ, violin and voice, thanks to Markus {\sc Veittes}):\label{avemaria} \notes|\ibbu2i0\qb2{kfh}\tqh2k&\qp&\qp\enotes \endpiece \end{verbatim}\end{quote} -\section{Layout parameters} + +\section{Layout parameters}\label{LayoutParameters} Most layout parameters are set by \musixtex\ to reasonable default values. -However, sophisticated scores\footnote{To our knowledge, the most complicated -scores are those written for the piano, during the romantic and post-romantic -periods.} may need more place below the lowest staff, between staves, etc. -\def\nochange{(\ital{NOT to be changed})} We give below a short list of the -most significant parameters. +However, some projects will require altering one or more of them. In this +section we discuss the most important parameters and how to change them. + \subsection{List of layout parameters} - \begin{remark} the mention ``\nochange'' does not mean that this parameter -cannot be changed, but that it should not be modified directly, e.g.\ by -saying something like \verb|\Interligne=14pt|. In other words, changing these -parameters must be performed using more comprehensive macros which not only -update them but also perform some other compulsory related changes. - \end{remark} - -\begin{description} - \item[\keyindex{Interligne} :]vertical distance between the base of staff -lines of the current instrument, taking no account of a possible specification -of \keyindex{setsize$n$} \nochange. - \item[\keyindex{internote} :]the vertical spacing of contiguous notes of -the current instrument, taking account of a possible specification of -\keyindex{setsize$n$} \nochange. - \item[\keyindex{Internote} :]the vertical spacing of contiguous notes of -the instrument(s) whose \keyindex{setsize$n$} has the \ital{default -value} of one (\keyindex{normalvalue}), -i.e.\ the half of \verb|\Interligne| \nochange - - \item[\keyindex{staffbotmarg} :]margin below the first staff of the lowest -instrument. Changes are recognized at the next system and default is -\verb|3\Interligne|. - \item[\keyindex{stafftopmarg} :]margin above the upper staff of the upper -instrument. Changes are recognized at the next system and default is -\verb|3\Interligne|. + In the following, the indication ``\nochange'' does not mean that this +parameter cannot be changed at all, but that it should not be modified +directly, e.g.\ by saying something like \verb|\Interligne=14pt|. In other +words, changes in these parameters must be accomplished only by more +comprehensive macros which not only revise them but at the same time perform +other necessary related changes. Even though you cannot \ital{change} these, +you may \ital{refer} to them in your coding if that proves useful. + +\begin{description}\setlength{\itemsep}{0ex} + \item[\keyindex{Interligne} :]vertical distance between the bottoms of +consecutive staff lines of the current instrument, taking no account of a +possible alteration by \keyindex{setsize} \nochange. + \item[\keyindex{internote} :]vertical spacing between notes one scale +step apart in the current instrument, taking account of a possible alteration +by \keyindex{setsize} \nochange. + \item[\keyindex{Internote} :]vertical spacing between notes one scale +step apart in any instrument whose \keyindex{setsize} has the default +value \keyindex{normalvalue} (1.0), equal to \verb|0.5\Interligne| \nochange +\item[\keyindex{staffbotmarg} :]margin below the first (lowest) staff of the +first (lowest) instrument. Changes are recognized at the next system. +Default is \verb|3\Interligne|. + \item[\keyindex{stafftopmarg} :]margin above the last (uppermost) staff of +last (uppermost) instrument. Changes are recognized at the next system. +Default is \verb|3\Interligne|. \item[\keyindex{interbeam} :]vertical distance between beams. \nochange. - \item[\keyindex{interportee} :]the distance between the bottom of one staff and -the bottom of the next one. It is set to -\verb|2|\keyindex{interstaff}\verb|\internote| at the next system. -Therefore, trying to change \verb|\interportee| will have no effect. - %\check - \item[\keyindex{interinstrument} :]the additional vertical distance between -two different instruments. This means that the distance between the upper -staff of the previous instrument and the lowest line of the current -instrument is equal to \keyindex{interportee+\Bslash interinstrument}. This -value is normally zero, but it helps putting additional space between -distinct instruments for the sake of clarity. This is a general dimension -register which holds for each of the vertical spaces between instruments, -except above the upper one, in which case this interval is irrelevant. -As usual in \TeX, it can be set using a command such as - - \verb|\interinstrument=10pt| - - \noindent or - - \verb|\interinstrument=6\internote| - - - However, this general parameter can be overridden for the space above a -specific instrument. For example (see the example {\tt angescao.tex}) one can -state: - -\keyindex{setinterinstrument} $n$\verb|{1\Interligne}| - -\noindent to force an additional spacing of one \verb|\Interligne| -above instrument $n$, whatever the value of \keyindex{interinstrument}. - This feature can usefully be used to have more space before instruments -representing \itxem{voices}, in order to have enough place to put -\itxem{lyrics} without assigning these lyrics a zero staff specific instrument -(useful to avoid having too many declared instruments in a choir score). - - The \verb|\setinterinstrument| is identical to the ancient --- and still -working --- \musictex\ command: - - \verb|\def|\keyindex{interinstrumentiii}\verb|{5\interligne}| - - \noindent to add 5\verb|\interligne| above the 3rd instrument. - %\check - +\item[\keyindex{interstaff} :]a very important macro with a single numerical +argument representing the factor that multiplies \verb|2\internote| to give the +distance between the bottom of one staff and the bottom of the next one. In +fact the macro redefines the parameter \verb|\interfacteur|. +\item[\keyindex{interportee} :]distance between the bottom of one staff and +the bottom of the next one. It is always reset to +\verb|2|\keyindex{interfacteur}\verb|\internote| at the next system. +Therefore, trying to change \verb|\interportee| will have no effect. Change +\verb|\interstaff| instead. Further, note that \verb|\interstaff| applies to all the +instruments, but each distinct instrument may have a different +\verb|\internote| (see \ref{staffspacing}). - \item[\keyindex{systemheight} :]the distance from the bottom of the -lowest staff to the top of the highest staff of the upper instrument. This is -the height of the vertical bars (single, double, repeats, etc.) \nochange. +\item[\keyindex{interinstrument} :]additional vertical distance between +two consecutive instruments. This means that the distance between the lowest +line of the previous instrument and the lowest line of the top staff of the current +instrument is \keyindex{interportee+\Bslash interinstrument}. The +default value of \verb|\interinstrument| is zero, but sometimes you +may want additional space between distinct instruments. This is a general +dimension register. As usual in \TeX, it can be set using a command such as +\verb|\interinstrument=10pt| or \verb|\interinstrument=6\internote|. Its +value can be overridden for the space above any particular instrument +with the macro \keyindex{setinterinstrument}\itbrace{n}\itbrace{s}, where +$n$ is the instrument and $s$ is the replacement value of the space to +be added. The \verb|\setinterinstrument| macro may be useful in some vocal +scores to provide vertical space for lyrics. Note that +after you have used \keyindex{setinterinstrument}, +you cannot reset the distances for that instrument with +\keyindex{interinstrument}; you must subsequently use +\keyindex{setinterinstrument} for that purpose. + + \item[\keyindex{systemheight} :]distance from the bottom of the +lowest staff to the top of the highest one. This is the length of any +vertical lines such as repeats that span the full height of a system. +\nochange. \end{description} + In addition, when handling notes of a given staff of a given instrument, the following dimensions are available (note these are not true registers, but \ital{equivalenced symbols} through a \verb|\def|): -\begin{itemize} - \item\keyindex{altplancher} : the altitude of the lowest line of the lowest + +\begin{description}\setlength{\itemsep}{0ex} + \item[\keyindex{altplancher} :]altitude of the lowest line of the lowest instrument \nochange. - \item\keyindex{altitude} : the altitude of the lowest line of the lowest + \item[\keyindex{altitude} :]altitude of the lowest line of the lowest staff of the current instrument \nochange. - \item\keyindex{altportee} : the altitude of the lowest line of the current + \item[\keyindex{altportee} :]altitude of the lowest line of the current staff \nochange. %??? Next perhaps will change to steps of \verb|\internote|. - \item\keyindex{stemfactor} : a parameter defining the size of half, quarter -and hooked eighth notes stems. Normally a stem has the length of one octave, -i.e. 3.5\keyindex{Interligne}. However, this is not valid for small size -notes and, therefore, the stem size is related to the \keyindex{interbeam} -dimensions which, in turn, is \ital{normally} equal to 0.75 -\keyindex{Interligne}. Thus the normal value of \keyindex{stemfactor} is -4.66, but it can be shortened for any purpose by saying, for example: - - \keyindex{stemlength}\verb|{3.5}| -\end{itemize} - \subsection{Changing layout parameters} - Most of these values can be changed, but only between the end of the -previous system and the beginning of the next one. This can be inserted -between a \keyindex{stoppiece} (or a \keyindex{endpiece}) -and a \keyindex{contpiece} (or a \keyindex{startpiece}), but it is -wiser to say, for example: - -\verb|\def\atnextline{\stafftopmarg=5\Interligne}| - - The user may prefer to change \keyindex{staffbotmarg} or -to feed \keyindex{interstaff} with a -given integer number, but this can be done only between a -\keyindex{stoppiece} (or a \keyindex{endpiece}) and a -\keyindex{contpiece} (or a \keyindex{startpiece}), but it is wiser to use -\keyindex{atnextline} as previously. - - It is also wise to use \keyindex{atnextline} to change the -number of instruments, the staff spacings, the number of staffs at the next -line... provided that the coding of the notes \ital{resists} an unexpected -line change executing the \keyindex{atnextline}. - \subsection{Changing the staff distance within systems} The vertical -distance of instruments with more than one staff can be changed, either -outside \verb|\startpiece|...\verb|\endpiece| or using \keyindex{atnextline}, -by saying: - -\keyindex{interstaff}\verb|{|$n$\verb|}| - - Then the spacing between the staffs of the instruments will be -$n$\verb|\internote|. Note that \verb|\interstaff| applies to all the -instruments, but each distinct instrument may have a different -\verb|\internote| (see \ref{staffspacing}). - - Note that this command is equivalent to an existing remnant of \musictex, -namely: - - \verb|\def|\keyindex{interfacteur}\verb|{|$n$\verb|}| - - - \medskip The distance between two different -instruments can be increased by saying - -\keyindex{interinstrument}\verb|=|\ital{any \TeX-dimension} - -\noindent for all additional inter-instrument distances, or - -\keyindex{setinterinstrument} $n$\verb|{|\ital{any \TeX-dimension}\verb|}| - -\noindent for single distances. - \subsection{Changing the number of lines in staffs}\index{staff line number} -\label{stafflinenumber} -Unless explicitely specified, staffs consist of five lines, in accordance to -the normal way of coding music scores. However, exceptions might be -preferred when using \musixtex~: - -\begin{itemize} - \item \itxem{gregorian music} is often written using staff of -four lines instead of five\footnote{German: \ital{Quadratnotation}.}, - \item \itxem{percussion music} (e.g.~drums, triangle) needs one, two, three - or five lines, since the pitch cannot change but the number of percussion - instruments. - \item \itxem{guitar tablature} needs six lines. Although \ital{real} guitar - players hate guitar tablature, - for beginners they are a big help. Not ready yet. The lines - are, but not the additional macros. - - \item Early baroque music sometimes uses staffs with 6, 7, or 8 lines. - - \end{itemize} + \item[\keyindex{stemfactor} :]parameter defining the length of stems on +half, quarter, and beamed eighth notes, in units of \verb|\interbeam|. +Normally a stem has the length of one octave, +i.e. 3.5\keyindex{Interligne}. However, this is not correct for small or tiny +note sizes. Therefore, stem length is defined as a multiple of the +dimension \keyindex{interbeam}, which is chosen because it is automatically +redefined as a +different multiple of \keyindex{Interligne} whenever note size is changed. For +example, with \verb|\normalmusicsize| when \verb|\setsize| is +\verb|\normalvalue|, \verb|\interbeam| is 0.75 \keyindex{Interligne}. This +legislates a default value for \keyindex{stemfactor} of 4.66 (=3.5/0.75). +To change stem length, it is easiest to use e.g. +\keyindex{stemlength}\verb|{3.5}|, which simply redefines \verb|\stemfactor|. +Subsequently, \verb|\stemfactor| will not automatically be reset to the default, +but keep in mind that if it is changed +inside a notes group, the change will only be effective within that notes group. +\end{description} - Therefore \musixtex\ allows for choosing the number of lines of -the staffs of an instrument. This is done by -\keyindex{setlines}~$n$\verb|{|$N$\verb|}| --- where $n$ is the number of the -wanted instrument as usual --- and $N$ the number of lines of the specific -staff. Allowed numbers are up to 9 lines. For example:\label{gregorian} - -\keyindex{setlines}\verb|2{4}| + \subsection{A convenient macro for changing layout parameters in mid-score} +Of the parameters just described that can be changed, many should only be +changed between the end of one system and the beginning of the next. The +command sequence \verb|\def\atnextline{|\ital{any control sequence}\verb|}| +may be useful for this purpose. It will cause \ital{any control sequence} to +be inserted right before the next new line is begun, provided the line break +is not initiated by a \verb|\startpiece|. Thus this will work with +automatically generated line breaks, with those forced by \verb|\alaligne|, and +with those forced by explicit use of \verb|\endpiece| or \verb|\stoppiece| +followed by \verb|\contpiece|. (Note, however, that in the latter case it +would be just as convenient to enter the parameter changes explicitly as well.) +The control sequence will only be executed once, +after which \verb|\atnextline| is redefined as \verb|\empty|. + + \subsection{Changing the number of lines per staff}\label{stafflinenumber} +Naturally, the default number of lines per staff is five. But you may want a +different number in some or all staves, for example for gregorian music, +percussion music, guitar tablature, or early baroque keyboard music. To do so, +use the command \keyindex{setlines}\itbrace{n}\itbrace{m}~where $n$ is the +instrument number and $m$ is the number of lines. -\noindent will make the instrument number 2 to have staffs of four -lines, that is, fit for gregorian music. \subsection{Resetting normal layout parameters} - Except the general size which -has to be explicitely changed if needed using \keyindex{smallmusicsize}, +The general size can only be changed with one of the commands +\keyindex{smallmusicsize}, \keyindex{normalmusicsize}, \keyindex{largemusicsize}, or -\keyindex{Largemusicsize}, all layout registers are reset to \ixem{default -values} by \keyindex{resetlayout}, which are explicitly: - - \begin{itemize} - \item \keyindex{staffbotmarg} and \keyindex{stafftopmarg} are set to -\verb|3\Interligne|. - \item \keyindex{interstaff} is set to \verb|9|. - \item The number of lines of all instruments are reset to 5. - \item All clef symbols are standard clef symbols. -\end{itemize} -\noindent -Besides, saying \keyindex{begin\LBR music\RBR} invokes \verb|\resetlayout|. - \subsection{Typesetting one-line excerpts rather than large scores} -Very often, what is wanted is not to typeset a large comprehensive score of -several lines and pages, but an excerpt of one or two bars, preferably -centered such as the various examples of this manual. This can be done simply -by replacing \keyindex{startpiece} with -\keyindex{startextract} and \verb|\endpiece| or \verb|\stoppiece| with -\keyindex{endextract}. It is sometimes useful to get more than one excerpt in -one line, this can be done with redefining of \keyindex{extractline}. - -With saying: - -\keyindex{let\Bslash extractline\Bslash hbox} - -\noindent you can put more than one example in one line. Helpful for getting -\itxem{musical footnotes}, which explain the playing of special trills or -give alternative ways of playing, is the redefining to: - -\keyindex{let\Bslash extractline\Bslash leftline} - -Besides, all changes inbetween -\keyindex{begin\LBR music\RBR}...\keyindex{end\LBR music\RBR} are local, -means not global. +\keyindex{Largemusicsize}. Beyond that, the command +\keyindex{resetlayout} will reset the following key layout parameters +to their default values: \keyindex{staffbotmarg} (3\verb|\Interligne|), +\keyindex{stafftopmarg} (3\verb|\Interligne|), \keyindex{interstaff} (9), + number of lines per staff for all instruments (5); and will reset all clef +symbols to standard clef symbols. + +% The whole subsection on excerpts should go with "MusiXTeX and LaTeX", currently 2.25 +% \subsection{Typesetting one-line excerpts rather than large scores}\label{excerpts} + +% All the old lyrics stuff should be deleted, with a reference to some older version of +% musixdoc. + +\section{Lyrics}\index{lyrics}\label{lyrics} +\musixtex{} itself doesn't manage lyrics very well. You should use +\verb+musixlyr+ instead, a MusiXTeX extension package for lyrics handling by Rainer Dunker. +The \TeX~source and +\href{http://icking-music-archive.org/software/musixtex/add-ons/mxlyrdoc.pdf} +{\underline{documentation}}~are included in the \musixtex~distribution. + +But first we recall briefly on the older methods, who are still usefull when +only a small number of words are involved. + +\subsection{Native lyrics method: placing single words} +\subsubsection{Native \musixtex\ commands for lyrics} + \begin{enumerate}\setlength{\itemsep}{0ex} + \item An obvious solution consists in using the commandc +\keyindex{zcharnote} (expanded to the right), +\keyindex{lcharnote} (expanded to the left), +\keyindex{ccharnote} (centered), to post the text at any position (computed in +\verb|\internote|s) with respect to the lower line of the current staff. +The pitch should be usually negative to have the text below the staff. - If you want to terminate it without a bar, you code -\keyindex{zendextract} which acts like \verb|\zstoppiece|. - \subsection{*Lyrics}\index{lyrics}\label{lyrics} - While they pose nearly no problem with \musictex\ which works using the glue -facility of \TeX, lyrics raise several serious difficulties with \musixtex. -The reason for that is that lyrics usually consist of \ital{text} which in -turn consists of characters whose width is definitely not stretchable nor -shrinkable proportionally to \verb|\noteskip| or \verb|\elemskip|. +Example:\quad +\raisebox{0ex}[4ex][3ex]{\musicintextnoclefn{\notes\sk\zcharnote{N}{Word}\wh g\sk\en}} +\quad is coded by \quad +\verb|\zcharnote{N}{Word}\wh g|~. - Thus the width of a sequence of notes like +\item The vertical position can also be given with a number in the commands +\keyindex{zchar} (expanded to the right), +\keyindex{lchar} (expanded to the left), +\keyindex{cchar} (centered). The number is internally multiplied by \verb|\internote|~. - \begin{music} - \startextract - \NOTEs\zcharnote{-5}{Words }\qu h\en - \endextract - \end{music} +Example:\quad +\raisebox{0ex}[4ex][3ex]{\musicintextnoclefn{\notes\sk\cchar{-4}{Word}\wh g\sk\en}} +\quad is coded by \quad +\verb|\cchar{-5}{Word}\wh g|~. - \noindent may be either the width of ``{\tt Words }'' with the current font, -or it may be \verb|1\elemskip|, whatever the largest. In the first case, the -width is fixed (see \keyindex{hardspace}), in the second its width is not the -same at \musixtex's first and second passes. But the unfortunate situation is that -\musixtex\ \ital{must} know whether this feature has a \ital{hard} (not scalable) -or a \ital{scalable} width \ital{at the first pass}, while the inequality -is solved only at the second. - - This means that, in addition to the three pass system, the user must run -trial and errors to find out whether some lyrics are wider than the final note -spacing, or smaller. In that case a wrong decision might lead to questionable -``\verb|Underfull hbox|''-es filled with ugly glue, or it may result in -awful ``\verb|Overfull hbox|'' with its heavy bar punishment and possible -over writings. - - However, before discussing this problem, we first describe the various ways of -inserting lyrics under --- or above --- a staff. - - \subsubsection{Getting enough vertical space for lyrics} Since songs are -usually equivalent to a one-staff instrument (possibly with several voices) -the recommended solution consists in adjusting the distance between -instruments using either \keyindex{interinstrument}\verb|=|\ital{any -\TeX-dimension} to give more place below all instruments or using -\keyindex{setinterinstrument} to make more space above. Note that {\Bslash -setinterinstrument} defines spacing above and not below an instrument. Since -lyrics are usually set below the staff, the first argument of a -\verb|\setinterinstrument| should be the song instrument number \ital{minus -one}. - - In the case of a single staff tune, or if the song instrument is the lowest -one, then additional place can be provided using \keyindex{staffbotmarg}. - - \subsubsection{Posting lyrics} - Lyrics can be introduced in several ways. - \begin{enumerate} - \item One archaic solution could be to define a special instrument for the lyrics -text, without effective staff, namely using the command -\keyindex{setstaffs}~$n$\verb|{|$p$\verb|}| described in \ref{whatspecify}. -The inconvenience of this solution is that it increases the number of -instruments, which is limited to 6 in standard \musixtex, although it can be -increased to 9 using {\tt musixadd.tex} and 12 with {\tt musixmad.tex}. - - \medskip - Therefore, better solutions consist is posting the lyrics in the same -instrument as the tune, provided that inter-instrument spacing has been -adapted. - - \item Another simple obvious solution consists in using the command -\keyindex{zcharnote} to post the text at any position (computed in -\verb|\internote|s) with respect to the lower line of the current staff. -The pitch should be usually negative to have the text below the staff. It -could also be specified like a note pitch, for example ``{\tt a}'' if the song -is in G-clef. The drawback is that the pitch has to be repeated for each text -of each note, which is tideous unless a special macro has been defined. - - \item Rather than \verb|\zcharnote| and other \verb|\?charnote| commands, one -should rather use \keyindex{zchar}, \keyindex{cchar} (centered) or -\keyindex{lchar} (expanded to left) which only allow absolute numbers -(internally multiplied by {\Bslash internote}). These command have the same -drawback as above, namely the vertical position has to be repeated each time. - - \item Of easier use are the commands \keyindex{zsong} (right of the note), +\item Of easier use are the commands \keyindex{zsong} (right of the note), \keyindex{lsong} (left) and \keyindex{csong} (centered) which post the lyrics at the lower staff line \ital{minus} the previous \keyindex{interinstrument}~$n$ or the \keyindex{staffbotmarg} quantity. These commands only have one argument, namely the lyrics text: - - -\begin{center} +%\begin{center} \keyindex{zsong}\verb|{|\ital{text}\verb|}|\quad \keyindex{lsong}\verb|{|\ital{text}\verb|}|\quad \keyindex{csong}\verb|{|\ital{text}\verb|}| -\end{center} - +%\end{center} Depending on the values of the inter-instrument spacings and margins, the resulting vertical position might be inappropriate. Then it can be changed for any specific $n$-th instrument until further change using - \begin{quote} \keyindex{setsongraise}~$n$\verb|{|\ital{any \TeX-dimension}\verb|}| \end{quote} - - \medskip As an example, the following French song - +As an example, the following French song\\ \begin{music} \generalsignature{1} \startextract @@ -5088,919 +6287,570 @@ any specific $n$-th instrument until further change using \end{music} \noindent was coded as: - \begin{quote}\begin{verbatim} \generalsignature{1} \startextract \geometricskipscale - \NOtes\zsong{Au }\qu g\en - \NOtes\zsong{clair }\qu g\en - \NOtes\zsong{de }\qu g\en - \NOtes\zsong{la }\qu h\en - \bar - \NOTes\zsong{lu- }\hu i\en - \NOTes\zsong{ne, }\hu h\en - \bar - \NOtes\zsong{mon }\qu g\en - \NOtes\zsong{a- }\qu i\en - \NOtes\zsong{mi }\qu h\en - \NOtes\zsong{Pier- }\qu h\en - \bar - \NOTes\zsong{rot, }\wh g\sk\en - \endextract -\end{verbatim}\end{quote} - - - You can also use the macros from \verb|musixcho.tex|, which result in the -same vertical positionning as \keyindex{zsong} and other \verb|\?song| do, but -the text of the lyrics are better justified around the related note. - - \end{enumerate} - - \subsubsection{Handling lyrics width versus scalable note spacings} - - If one uses either \verb|\zsong| or \verb|\csong| or \verb|\lsong| without -caution, one will probably get awful things such as: - - \begin{music} - \generalsignature{1} - \startextract - \geometricskipscale - \Notes\zsong{Au }\qu g\en - \Notes\zsong{clair }\qu g\en - \Notes\zsong{de }\qu g\en - \Notes\zsong{la }\qu h\en - \bar - \NOtes\zsong{lu- }\hu i\en - \NOtes\zsong{ne, }\hu h\en - \bar - \Notes\zsong{mon }\qu g\en - \Notes\zsong{a- }\qu i\en - \Notes\zsong{mi }\qu h\en - \Notes\zsong{Pier- }\qu h\en - \bar + \NOtes\zsong{Au }\qu g\zsong{clair }\qu g\en + \NOtes\zsong{de }\qu g\zsong{la }\qu h\en\bar + \NOTes\zsong{lu- }\hu i\zsong{ne, }\hu h\en\bar + \NOtes\zsong{mon }\qu g\zsong{a- }\qu i\en + \NOtes\zsong{mi }\qu h\zsong{Pier- }\qu h\en\bar \NOTes\zsong{rot, }\wh g\sk\en - \endextract - \end{music} - - \noindent which is the same example as above, with all spacings divided by -1.41. Although locating ``overfull'' lyrics seems easy, it might be wiser to -force their visibility, which is done replacing \verb|\zsong| with -\keyindex{hsong} which encloses the hazardous text in a \verb|\hbox| of width -\verb|\noteskip|, whose overfilling is diagnosed as usual by Plain \TeX\ or -(especially in \LaTeX) by means of the \verb|\overfullrule=...| command: - - - \begin{music} - \generalsignature{1} - \startextract - \overfullrule 3pt% - \geometricskipscale - \Notes\hsong{Au }\qu g\en - \Notes\hsong{clair }\qu g\en - \Notes\hsong{de }\qu g\en - \Notes\hsong{la }\qu h\en - \bar - \NOtes\hsong{lu- }\hu i\en - \NOtes\hsong{ne, }\hu h\en - \bar - \Notes\hsong{mon }\qu g\en - \Notes\hsong{a- }\qu i\en - \Notes\hsong{mi }\qu h\en - \Notes\hsong{Pier- }\qu h\en - \bar - \NOTes\hsong{rot, }\wh g\sk\en - \endextract - \end{music} - - Alternate versions of \verb|\hsong| are \keyindex{dhsong} which has a fixed -length of \verb|2\noteskip| and \keyindex{thsong} whose fixed length is -\verb|3\noteskip|. These are useful when the text is set below (or above) a -collective coding of two or three notes. - - Once one has diagnosed --- in the tentative final layout --- which lyrics -lead to overfull texts, several corrections may be tried: - -\begin{enumerate} - \item Increase the \keyindex{mulooseness} to have wider note spacing. This -may work, but the inconvenience is that all notes would be stretched, and not -only the faulty notes. - \item Increase specific note spacings, replacing for example \verb|\Notes| -with \verb|\NOtes| or \verb|\Notesp|. This is the easiest solution which may -require several trials and errors since an increase of a few notes in a system -may lead to a small shrinking of the others, to keep the total length -constant. - \item Decide that some notes --- only ``some'' notes, not all notes of the -score, neither all the notes of a given system --- would have a \itxem{hard -spacing} and not a scalable spacing. This is done using the command - - \begin{quote} - \keyindex{hardnotes}\ital{ any hard \TeX\ dimension }\verb|\notes|\ital{ -normal note specif. }\verb|\en| - \end{quote} - \noindent which ends the \verb|\notes...\en| with a \itxem{hard spacing} (see -\verb|\hardspace| in \ref{hardspace}, p. \pageref{hardspace}) rather than a -scalable spacing. - - A more practical variant has been provided especially for lyrics, namely - - \begin{quote} - \keyindex{hardlyrics}\ital{ any text }\verb|\notes|\ital{ -normal note specif. }\verb|\en| - \end{quote} - \noindent which computes the width of ``any text'' by putting it in a -\verb|\hbox| and reverting to \verb|\hardnotes| to perform the remainder of the -task. In order to save repetitions, the text of the lyrics which has been used -to compute the hard note spacing can be retrieved under the command name -\keyindex{thelyrics}. \verb|\hardlyrics| must be followed by \verb|\notes| -(with the lyrics text inbetween), not by \verb|\Notes| nor \verb|\NOtes|, etc. - - - Besides, since moving the lyrics text between \verb|\hardlyrics| and -\verb|\notes|\footnote{{\Bslash notes}, neither {\Bslash Notes} nor {\Bslash -NOtes} nor {\Bslash NOTes} etc.} together with replacing it with -\keyindex{thelyrics} at the initial location is a rather tedious operation -with text editors, another command has been provided, namely -\keyindex{softlyrics}: - - \verb|\softlyrics{|\ital{ any text }\verb|}| - - \noindent defines \verb|\thelyrics| to be ``\ital{ any text }'', so that -going from \verb|\hardlyrics| to the default scalable behaviour of -\verb|\noteskip| and inversely can easily be done by changing \verb|\hard| -into \verb|\soft| in the source text, with optional change of the number of -uppercase letters in \verb|\notes|. - - - - \medskip\begin{important} since \/\verb|\hardlyrics| computes -\/\verb|\noteskip|, its argument (before \/\verb|\notes|) may not refer to -\/\verb|\noteskip|... which is not already computed. - \end{important} - \end{enumerate} - - \subsubsection{A more comprehensive example of lyrics} - Here is an example taken from the French catholic liturgy (a French -translation of the traditional \ital{Gloria in excelsis Deo}). We give first -the adapted source of a part of the score: - - -\begin{quote}\begin{verbatim} -\overfullrule 3pt -\instrumentnumber{1} -\setstaffs11 -% -\generalsignature{-1}\relax % one flat -\generalmeter{\meterfrac{2}{2}} -% -\staffbotmarg=5\Interligne\stafftopmarg=1.5\Interligne -\startpiece -\setsongraise1{2\Interligne}% -\znotes\uptext{\kern -9mm\raise 9pt\hbox{\bigtype - Majestueux, sans tra\^\i ner \rm(\metron{\hu}{50})}}\enotes -\hardlyrics {\kern-5pt Gloire }\notes\hsong{\thelyrics }\cu c\enotes -\notes\hsong{\`a }\cu c\enotes -\barre -\NOTes\hsong{Dieu~}\hu f\enotes -\notes\hsong{au}\cu f\enotes -\hardlyrics{plus~}\notes\hsong{\thelyrics }\cu f\enotes -\hardlyrics{haut~}\notes\hsong{\thelyrics }\cu g\enotes -\notes\hsong{des}\cu g\enotes -\barre -\NOtes\hsong{cieux~}\qup h\enotes -\notes\hsong{et~}\cu h\enotes -\hardlyrics{paix~}\notes\hsong{\thelyrics }\qu i\enotes -\hardlyrics{sur~}\notes\hsong{\thelyrics }\cu h\enotes -\notes\hsong{la~}\cu g\enotes -\barre -\Notes\hsong{ter-}\qu f\enotes -\notes\hsong{re~}\cu f\enotes -\hardlyrics{aux~}\notes\hsong{\thelyrics}\cu f\enotes -\hardlyrics{hom- }\notes\hsong{\thelyrics}\qu g\enotes -\hardlyrics{mes~}\notes\hsong{\thelyrics }\cu h\enotes -\hardlyrics{qu'il~}\notes\hsong{\thelyrics }\cu i\enotes -\barre -\NOtes\hsong{ai-}\hu g\enotes -\Notes\hsong{me.}\hu f\enotes -\Notes\uptext{\bf II }\enotes -\barre -\hardlyrics{Nous~}\notes\hsong{\thelyrics}\qu h\enotes -\notes\hsong{Te~}\cu g\enotes -\notes\hsong{lou-}\cu g\enotes -\NOtes\hsong{ons,}\hu h\enotes -\barre -\hardlyrics{nous~}\notes\hsong{\thelyrics }\cu h\enotes -\notes\hsong{Te~}\cu h\enotes -\notes\hsong{b\'e-}\cu j\enotes -\notes\hsong{nis-}\cu j\enotes -\NOtes\hsong{sons,}\hu h\enotes -\barre -\Notes\hsong{nous~}\qu h\enotes -\NOtes\hsong{t'a-}\hu g\enotes -\Notes\hsong{do-}\qu f\enotes -\barre -\NOtes\hsong{rons,~}\hu f\enotes -\notes\uptext{\bf I}\enotes -\hardlyrics{nous~}\notes\hsong{\thelyrics }\cu h\enotes -\notes\hsong{Te~}\cu h\enotes -\notes\hsong{glo-}\cu g\enotes -\notes\hsong{ri-}\cu g\enotes -\barre -\NOTEs\hsong{fions,~}\hu h\enotes -\hardlyrics{\kern -4pt nous~}\notes\hsong\thelyrics\cu h\enotes -\notes\hsong{Te~}\cu h\enotes -\notes\hsong{ren-}\cu h\enotes -\notes\zsong{dons~}\cu i\enotes -\barre -\NOtes\hsong{gr\^a~-}\qu g\enotes -\notes\hsong{ces~}\cu g\enotes -\hardlyrics{pour~}\notes\hsong\thelyrics\cu g\enotes -\hardlyrics{Ton~}\notes\hsong\thelyrics\cu h\enotes -\notes\hsong{im-}\cu i\enotes -\hardlyrics{men-}\notes\hsong\thelyrics\cu j\enotes -\notes\zsong{se~}\cu k\enotes -\barre -\Notes\hsong{gloi-}\ql j\enotes -\Notes\hsong{-}\ql i\enotes -\Notes\hsong{re~!}\qu h\enotes -\notes\uptext{\bf II}\enotes -\notes\hardlyrics{Sei-}\hsong\thelyrics\cu h\enotes -\notes\zsong{gneur~}\cu i\enotes -\barre -\hardlyrics{Dieu,~}\notes\hsong\thelyrics\qu j\enotes -\hardlyrics{Roi~}\notes\hsong\thelyrics\cu h\enotes -\notes\hsong{du~}\cu g\enotes -\Notes\hsong{Ciel,~}\qu h\enotes -\hardlyrics{Dieu~}\notes\hsong\thelyrics\cu h\enotes -\notes\zsong{le~}\cu g\enotes -\barre -\hardlyrics{P\`e-~}\notes\thelyrics\hsong\cu h\enotes -\notes\hsong{re~}\cu i\enotes -\hardlyrics{tout-}\notes\hsong\thelyrics\cu g\enotes -\hardlyrics{puis-}\notes\hsong\thelyrics\cu h\enotes -\hardlyrics{sant~!}\notes\hsong\thelyrics\qup h\enotes -\notes\uptext{\bf I}\enotes -\notes\zsong{Sei-}\cu h\enotes -\mulooseness 2% -\stoppiece + \zendextract \end{verbatim}\end{quote} +\end{enumerate} - The result clearly shows the inequality between note spacings, -some of them forced by lyrics length, some others related to the -value of \verb|\elemskip| choosen by {\tt musixflx} according to the -given value of \keyindex{mulooseness}. Note that \verb|\zsong| still has been -used for lyrics followed by a bar, since their extension across the bar is -usually harmless. - -\begin{music} -\small -\overfullrule 3pt -\instrumentnumber{1} -\setstaffs11 -% -\generalsignature{-1}\relax % one flat -\generalmeter{\meterfrac{2}{2}} -% -\staffbotmarg=5\Interligne\stafftopmarg=1.5\Interligne -\startpiece -\setsongraise1{2\Interligne}% -\znotes\uptext{\kern -9mm\raise 9pt\hbox{\bigtype - Majestueux, sans tra\^\i ner \rm(\metron{\hu}{50})}}\enotes -\hardlyrics {\kern-5pt Gloire }\notes\hsong{\thelyrics }\cu c\enotes -\notes\hsong{\`a }\cu c\enotes -\barre -\NOTes\hsong{Dieu~}\hu f\enotes -\notes\hsong{au}\cu f\enotes -\hardlyrics{plus~}\notes\hsong{\thelyrics }\cu f\enotes -\hardlyrics{haut~}\notes\hsong{\thelyrics }\cu g\enotes -\notes\hsong{des}\cu g\enotes -\barre -\NOtes\hsong{cieux~}\qup h\enotes -\notes\hsong{et~}\cu h\enotes -\hardlyrics{paix~}\notes\hsong{\thelyrics }\qu i\enotes -\hardlyrics{sur~}\notes\hsong{\thelyrics }\cu h\enotes -\notes\hsong{la~}\cu g\enotes -\barre -\Notes\hsong{ter-}\qu f\enotes -\notes\hsong{re~}\cu f\enotes -\hardlyrics{aux~}\notes\hsong{\thelyrics}\cu f\enotes -\hardlyrics{hom- }\notes\hsong{\thelyrics}\qu g\enotes -\hardlyrics{mes~}\notes\hsong{\thelyrics }\cu h\enotes -\hardlyrics{qu'il~}\notes\hsong{\thelyrics }\cu i\enotes -\barre -\NOtes\hsong{ai-}\hu g\enotes -\Notes\hsong{me.}\hu f\enotes -\Notes\uptext{\bf II }\enotes -\barre -\hardlyrics{Nous~}\notes\hsong{\thelyrics}\qu h\enotes -\notes\hsong{Te~}\cu g\enotes -\notes\hsong{lou-}\cu g\enotes -\NOtes\hsong{ons,}\hu h\enotes -\barre -\hardlyrics{nous~}\notes\hsong{\thelyrics }\cu h\enotes -\notes\hsong{Te~}\cu h\enotes -\notes\hsong{b\'e-}\cu j\enotes -\notes\hsong{nis-}\cu j\enotes -\NOtes\hsong{sons,}\hu h\enotes -\barre -\Notes\hsong{nous~}\qu h\enotes -\NOtes\hsong{t'a-}\hu g\enotes -\Notes\hsong{do-}\qu f\enotes -\barre -\NOtes\hsong{rons,~}\hu f\enotes -\notes\uptext{\bf I}\enotes -\hardlyrics{nous~}\notes\hsong{\thelyrics }\cu h\enotes -\notes\hsong{Te~}\cu h\enotes -\notes\hsong{glo-}\cu g\enotes -\notes\hsong{ri-}\cu g\enotes -\barre -\NOTEs\hsong{fions,~}\hu h\enotes -\hardlyrics{\kern -4pt nous~}\notes\hsong\thelyrics\cu h\enotes -\notes\hsong{Te~}\cu h\enotes -\notes\hsong{ren-}\cu h\enotes -\notes\zsong{dons~}\cu i\enotes -\barre -\NOtes\hsong{gr\^a~-}\qu g\enotes -\notes\hsong{ces~}\cu g\enotes -\hardlyrics{pour~}\notes\hsong\thelyrics\cu g\enotes -\hardlyrics{Ton~}\notes\hsong\thelyrics\cu h\enotes -\notes\hsong{im-}\cu i\enotes -\hardlyrics{men-}\notes\hsong\thelyrics\cu j\enotes -\notes\zsong{se~}\cu k\enotes -\barre -\Notes\hsong{gloi-}\ql j\enotes -\Notes\hsong{-}\ql i\enotes -\Notes\hsong{re~!}\qu h\enotes -\notes\uptext{\bf II}\enotes -\hardlyrics{Sei-}\notes\hsong\thelyrics\cu h\enotes -\notes\zsong{gneur~}\cu i\enotes -\barre -\hardlyrics{Dieu,~}\notes\hsong\thelyrics\qu j\enotes -\hardlyrics{Roi~}\notes\hsong\thelyrics\cu h\enotes -\notes\hsong{du~}\cu g\enotes -\hardlyrics{Ciel,~}\notes\hsong\thelyrics\qu h\enotes -\hardlyrics{Dieu~}\notes\hsong\thelyrics\cu h\enotes -\notes\zsong{le~}\cu g\enotes -\barre -\hardlyrics{P\`e-~}\notes\hsong\thelyrics\cu h\enotes -\notes\hsong{re~}\cu i\enotes -\hardlyrics{tout-}\notes\hsong\thelyrics\cu g\enotes -\hardlyrics{puis-}\notes\hsong\thelyrics\cu h\enotes -\hardlyrics{sant~!}\notes\hsong\thelyrics\qup h\enotes -\notes\uptext{\bf I}\enotes -\notes\zsong{Sei-}\cu h\enotes -\mulooseness 2% -\stoppiece -\end{music} - - - The complete score of this carol --- with slightly different layout -due to different page size --- is given in example {\tt glorias.tex} and in -{\tt gloriab.tex}, the latter exhibiting not only the song tune but also the -organ accompaniment -(both require {\tt musixsty.tex}). - - -\section{Abnormal music coding} - \subsection{Gregorian chant: staffs and clefs} \index{gregorian -music}Gregorian chant is often coded using four line staffs (see sections -\ref{gregorian} and \ref{stafflinenumber}) and using special notes (called -\itxem{neumes}) which are described in section \ref{gregnotes}. But the -gregorian chant also needs special clefs which are in fact the ancestors of -the modern ones. The \itxem{gregorian clefs} can be invoked instead of the -modern ones by: - -\keyindex{setaltoclefsymbol}\verb|3\gregorianCclef| - -\keyindex{setbassclefsymbol}\verb|3\gregorianFclef| - -\noindent will cause the instrument number 3 to exhibit the chosen gregorian -clefs. The standard clefs can be restored for every instrument with -\keyindex{resetclefsymbols}. - -It is to be emphasized that, since version T.40 of \musixtex, one should -specify whether one wants to change the bass clef symbol or the alto clef -symbol (also the treble clef symbol, but there is no treble clef in gregorian -chant). The reason is that \musixtex\ (as well as \musictex) selects and -raises differently the F, G and C clefs according to the arguments of the -\keyindex{setclef} command. Therefore, if one had substituted any F clef -symbol while saying \verb|\setclef1{1000}|, then an F clef would duly appear -on the staff, but it would have been set at the position of an alto clef, thus -seriously misleading the musician. - - However, for compatibility with what was previously choosen\footnote{By A. -{\sc Egler}...}, the \keyindex{setclefsymbol} still exists, but it substitutes -the given second argument \ital{to all clef symbols} of that instrument, -regardless of the actual musical meaning of this symbol. \verb|\setclefsymbol| -is therefore discouraged, unless one changes the design of the clef symbol of -an instrument for the whole of the score. - - As an example, the same gregorian scale has been written with a gregorian C -clef on all four lines of the staff: - - \begin{music} - \parindent 19mm - \instrumentnumber{4} - \setname1{1st line} \setname2{2nd line} \setname3{3rd line} \setname4{4th line} - \setlines1{4}\setlines2{4}\setlines3{4}\setlines4{4} - \sepbarrules - \generalmeter{\empty} - \setclef1{1000} \setclef2{2000} \setclef3{3000} \setclef4{4000} - \setaltoclefsymbol1\gregorianCclef - \setaltoclefsymbol2\gregorianCclef - \setaltoclefsymbol3\gregorianCclef - \setaltoclefsymbol4\gregorianCclef -\startextract -\Notes\squ{abcdefghi}&\squ{abcdefghi}&\squ{abcdefghi}&\squ{abcdefghi}&\enotes -\endextract -\end{music} - - The coding was: - \begin{verbatim} - \instrumentnumber{4} - \setname1{1st line} \setname2{2nd line} \setname3{3rd line} \setname4{4th line} - \setlines1{4}\setlines2{4}\setlines3{4}\setlines4{4} - \sepbarrules - \generalmeter{\empty} - \setclef1{1000} \setclef2{2000} \setclef3{3000} \setclef4{4000} - \setaltoclefsymbol1\gregorianCclef - \setaltoclefsymbol2\gregorianCclef - \setaltoclefsymbol3\gregorianCclef - \setaltoclefsymbol4\gregorianCclef -\startextract -\Notes\squ{abcdefghi}&\squ{abcdefghi}&\squ{abcdefghi}&\squ{abcdefghi}&\enotes -\endextract - \end{verbatim} - - - \subsection{Music score without clefs or with special clefs} - - \subsubsection{Empty clefs} -\index{clefs (empty)} - Regardless of the number of lines of the staffs, an instrument may -have no clefs, e.g.~for \itxem{percussion music} but also for any weird -purpose. This is done by declaring the following item: - -\keyindex{setclefsymbol}~$n$\verb|\empty| - -\noindent Normal symbols for these clefs can be restored by: - -\keyindex{resetclefsymbols} - - \subsubsection{Octave clefs}\index{octave clefs} - - Octave treble clefs and octave bass clefs are provided. They can replace the usual - treble and bass clefs by saying: - - \keyindex{setclefsymbol}~$n$\keyindex{bassoct} - - \keyindex{setclefsymbol}~$n$\keyindex{trebleoct} - - \noindent for upper octaviation, and - - \keyindex{setclefsymbol}~$n$\keyindex{basslowoct} - - \keyindex{setclefsymbol}~$n$\keyindex{treblelowoct} - - \noindent for lower octaviation. - - \begin{music} - \parindent 19mm - \instrumentnumber{4} - \generalmeter{\empty} - \setclef1\bass \setclef2\bass \setclef3\treble \setclef4\treble - \setbassclefsymbol1\basslowoct - \setbassclefsymbol2\bassoct - \settrebleclefsymbol3\treblelowoct - \settrebleclefsymbol4\trebleoct -\startextract -\Notes\qu{`abcdefghi}&\qu{`abcdefghi}&\qu{abcdefghi}&\qu{abcdefghi}&\enotes -\endextract -\end{music} - -{\noindent\sl REMARKS: \begin{itemize} \item The \keyindex{setclefsymbol}, -\keyindex{settrebleclefsymbol}, \keyindex{setaltoclefsymbol} and -\keyindex{setbassclefsymbol} commands only change the symbol posted, not the -altitude of the note head. Thus, if you say \verb|\setclef1\bass| and then -|\setbassclefsymbol1\trebleclef|, your score will be definitely wrong. In the -same way, \keyindex{trebleoct} and similar octave clefs will only change the -symbol, but a note coded {\tt a} wiull have the same vertical position, -regardless of the clef symbol chosen. - \item Changing clef symbols also affect clef changes within the score, but -this clef changes will be posted by large symbols, not smaller clefs as usual. -Anyway, it can be remarked that clef changes only concern scores with standard -treble, alto and bass clefs... -\end{itemize} -} - - \subsubsection{Drum clef} - A special \itxem{drum clef} (two heavy vertical bars) can -replace for the $n$-th intrument any of the standard clefs by saying: - -\keyindex{setclefsymbol}~$n$\keyindex{drumclef}\label{sectiondrum} - -\noindent However, since the vertical position of the clef depends on the -previously stated clef, it is not wise to replace any clef symbol with the -drum clef, but to have the instrument previously configured with the default -violin clef, i.e. \verb|{0000}|. - - It is to be emphasised that these features are specific to one -instrument --- not one staff of a several staff instrument --- so that some -weird score for \ital{monks}, \ital{drum} and \ital{electronic keyboard} -such as +\subsubsection{Adapting note spacing for lyrics} -\begin{music} -\parindent 19mm -\instrumentnumber{3} -\setname1{keyboard} \setname2{drum} \setname3{monks} -\setlines2{1} -\setlines3{4} -\setinterinstrument1{-2\Interligne}% less vertical space above -\setinterinstrument2{-2\Interligne}% and below the percussion -\sepbarrules -\setsign1{-1} % one flat at keyboard -\generalmeter{\meterfrac24} -\setmeter3\empty -\setclef3\alto -\setclef1\bass -\setstaffs12 % 2 staffs at keyboard -\setclefsymbol3\gregorianCclef % gregorian C clef at instrument 3 -\setclefsymbol2\drumclef % cancel G clef at instrument 2 -\startextract -\Notes\hu F|\zh c\hu h&\dnq4&\squ{acd}\enotes\bar -\NOtes\qu I|\zq N\qu d&\qp&\diapunc f\enotes -\NOtes\qu J|\zq a\qu e&\ynq4&\diapunc e\enotes\bar -\notes\hu G|\zh b\hu d&\dnq4&\zsqu d\rsqu g\squ{hgh}\enotes -\endextract -\end{music} -\noindent could be coded as follows, regardless this is relevant (see remark -in \ref{gregoriancappella}, p. \pageref{gregoriancappella}): -\begin{verbatim} -\parindent 19mm -\instrumentnumber{3} -\setname1{keyboard} \setname2{drum} \setname3{monks} -\setlines2{1} -\setlines3{4} -\setinterinstrument1{-2\Interligne}% less vertical space above -\setinterinstrument2{-2\Interligne}% and below the percussion -\sepbarrules -\setsign1{-1} % one flat at keyboard -\generalmeter{\meterfrac24} -\setmeter3{\empty} -\setclef3{\alto} -\setclef1{\bass} -\setstaffs1{2} % 2 staffs at keyboard -\setclefsymbol3{\gregorianCclef} % gregorian C clef at instrument 3 -\setclefsymbol2{\drumclef} % cancel G clef at instrument 2 -\startextract -\Notes\hu F|\zh c\hu h&\dnq4&\squ{acd}\enotes\bar -\NOtes\qu I|\zq N\qu d&\qp&\diapunc f\enotes -\NOtes\qu J|\zq a\qu e&\ynq4&\diapunc f\enotes\bar -\notes\hu G|\zh b\hu d&\dnq4&\zsqu d\rsqu g\squ{hgh}\enotes -\end{verbatim} -In the same way, a possible violin score with \itxem{harmonic notes} (see -\ref{othernotes}) could be:\label{abnormalscores} +The command \keyindex{hardlyrics}\verb|{longword}| provides a spacing that is equal to the length +of the text argument \verb|{longword}|. In the same time the argument \verb|{longword}| +is saved in \keyindex{thelyrics} +As an example \quad +\raisebox{0ex}[5ex][4ex]% +{\musicintextnoclefn{\staffbotmarg2\Interligne% +\hardlyrics{clair}\notes\hsong{\thelyrics}\wh g\en\notes\wh{gg}\en}} +\quad is coded by: +\begin{tabular}{l} +\verb|\hardlyrics{clair}%|\\ +\verb|\notes\hsong{\thelyrics}\wh g\en|\\ +\verb|\notes\wh{gg}\en|\\ +\end{tabular} + +All notes with long lyrics need such a treatment. The commands only carry out on +\verb|\notes| (not on \verb|\Notes|, \verb|\NOtes|...). + +If you want to go back to the normal placing on an easy way, you simply can replace +'\verb|\hardlyrics|' by '\verb|\softlyrics|'. + + A complete score is given in example {\tt glorias.tex}\label{glorias} and in +{\tt gloriab.tex}, the latter exhibiting not only the song tune but also the +organ accompaniment. + +Alternate versions of \verb|\hsong| are \keyindex{dhsong} which has a fixed +length of \verb|2\noteskip| and \keyindex{thsong} whose fixed length is +\verb|3\noteskip|. These are useful when the text is set below (or above) a +collective coding of two or three notes. + +\subsection{Musixlyr}\label{musixlyr} + +Lyrics are best handled by the \texttt{musixlyr}\index{musixlyr} package by Rainer Dunker. +The package can be used by inserting a file in your source code: +\begin{quote}\begin{verbatim} +\input musixtex +\input musixlyr +... +\end{verbatim}\end{quote} + +The manual, the input file and a few examples can be downloaded as +compact musixlyr packet +\href{http://icking-music-archive.org/software/musixtex/add-ons/musixlyr21c.zip} +{\underline{for Windows}} or \href{http://icking-music-archive.org/software/musixtex/add-ons/musixlyr21c.tgz} +{\underline{for \unix}}. Look at the manual for a detailed description. Here you can find an overview +of the commands and an example of use. + +\def\keyexample#1{\keyindex{#1}} + +\noindent\begin{tabbing} +\verb|\NOtes|\keyexample{assignlyricshere}\verb|{alto}\qa c\en|\quad\= assigning without staff number\kill +Example\> Explanation +\end{tabbing} +\vspace{-1ex} +\hrule +\vspace{-2ex} +\begin{tabbing} +\verb|\NOtes|\keyexample{assignlyricshere}\verb|{alto}\qa c\en|\quad\= assigning without staff number\kill +\keyexample{setlyrics}\verb|{sopr}{the ly_-ric words_}|\> defining the lyrics text\\ +\keyexample{copylyrics}\verb|{sopr}{alto}|\> alto has same lyrics as soprano\\ +\keyexample{appendlyrics}\verb|{alto}{more words}|\> alto lyrics is longer\\ +\keyexample{assignlyrics}\verb|2{sopr,alto}|\>soprano and alto lyrics at staff 2\\ +\keyexample{assignlyricsmulti}\verb|{1}{2}{alto}|\>assign alto lyrics to staff 2 of instrument 1\\ +\verb|\NOtes|\keyexample{assignlyricshere}\verb|{alto}\qa c\en|\>assigning without staff number\\ +\keyexample{auxlyr}\verb|\assignlyrics{2}{sopr}|\> assign soprano above staff 2\\[.8ex] +\keyexample{lyrrule}\verb|\qu c|...\keyexample{lyrruleend}\verb|\qu c|\>make a melisma by hand\\ +\keyexample{beginmel}\verb|\qu c|...\keyexample{endmel}\verb|\qu c|\>melisma, same as word extension underline\\[.8ex] +\keyexample{lyr}\verb|\qu c|\>force a syllable from lyrics text at this note or rest\\ +\keyexample{lyric}\verb|{word}\qu c|\>insert syllable 'word' at this note\\ +\verb|\loffset{2}{|\keyexample{lyric*}\verb|{1.}}\qu c|\>combine '1.' with regular syllable\\ +\keyexample{lyrich}\verb|{syl}\qu c|\>same as \verb|\lyric|, but with hyphenation\\ +\keyexample{lyrich*}\verb|{}\qu c|\>same as \verb|\lyric*|, but with hyphenation\\ +\keyexample{lyricsoff}...\keyexample{lyricson}\>stop lyrics, then start again\\ +\keyexample{nolyr}\verb|\qu c|\>no syllable at this note\\[.8ex] +\keyexample{llabel}\verb|{labelname}name|\>labelling a ``go to'' target in text\\ +\keyexample{golyr}\verb|{labelname}\qu c|\>perform a jump, in music code\\[.8ex] +\keyexample{lyrpt}\verb|,\qu c|\>add a comma to the syllable under this note\\ +\keyexample{lyrnop}\verb|\qu c|\>remove last character in syllable\\ +\keyexample{lclyr}\verb|\qu c|\>make first character lower case\\ +\keyexample{llyr}\verb|\qu c|\>left justified syllable\\ +\keyexample{leftlyrtrue}\verb|\qu c|...\keyexample{leftlyrfalse}\verb|\qu c|\>start and stop left justification as the default\\ +\keyexample{lyroffset}\verb|{-4}\qu c|\>shift syllable 1 notehead to the left\\[.8ex] +\keyexample{minlyrspace}\verb|{3pt}\qu c|\>define minimum space between the words\\ +\keyexample{forcelyrhyphenstrue}\verb|\qu c|\>always use a hyphen from now on\\ +\keyexample{forcelyrhyphensfalse}\verb|\qu c|\>remove hyphen and make one word if necessary \\ +\keyexample{showlyrshifttrue}\verb|\qu c|\>show the lyric shift\\[.8ex] +\keyexample{lyrraise}\verb|{1}{a 2\Interligne}|\>raise lyrics below staff 1 by \verb|2\Interligne|\\ +\keyexample{lyrraisemulti}\verb|{1}{2}{a 2\Interligne}|\>raise alto lyrics above staff 2 of instrument 1\\ +\keyexample{lyrraisehere}\verb|{b 2\Interligne}\qu c|\>raise lyrics below this staff by \verb|2\Interligne|\\[.8ex] +\keyexample{minlyrrulelength}\verb|{2mm}|\>melismas shorter than 2mm are not shown \\ +\keyexample{minmulthyphens}\verb|{15mm}|\>distance between hyphens in 'hyphen melisma'\\ +\verb|\def|\keyexample{lyrhyphenchar}\verb|{-}|\>chose a hyphen character\\ +\verb|\setlyrics{|\keyexample{lyrlayout}\verb|{\it}..}|\>apply italics to all lyrics lines\\ +\keyexample{verses}\verb|{,\beginmel}\qu c|\>initiate melisma at second verse\\[.8ex] +\verb|\small|\keyexample{setlyrstrut}\>adapt the vertical distance between lyrics lines\\ +\keyexample{lyrstrutbox}\verb|{10pt}|\> (re)define the distance between the lyrics lines\\[.8ex] +\keyexample{lyrmodealter}\verb|2|\>attach lyrics of staff 2 to the upper voice\\ +\keyexample{lyrmodealtermulti}\verb|{1}{2}|\>attach lyrics of instr.\ 1 staff 2 to the upper voice\\ +\keyexample{lyrmodealterhere}\verb|\qu c|\>attach lyrics of this staff to the upper voice\\ +\keyexample{lyrmodenormal}\verb|2|\>restore the default behaviour\\ +\keyexample{lyrmodenormalmulti}\verb|{1}{2}|\>restore the default behaviour at staff 2 of instr.\ 1\\ +\keyexample{lyrmodenormalhere}\verb|\qu c|\>restore the default behaviour of this staff\\[.8ex] +\keyexample{lyrlink}\>linking 2 words with a '$_{_\smile}$'\\ +\keyexample{lowlyrlink}\>same as \verb|\lyrlink| but a little bit lower\\[.8ex] +\keyexample{resetlyrics}\>set word pointer to the first word in all lyrics lines\\[.8ex] +\keyexample{enableauxlyrics}\>don't use this anymore\\ +\keyexample{setsongraise}\verb|{1}{2\Interligne}|\>same as \verb|{\lyrraise}{1}{b 2\Interligne}|\\ +\keyexample{auxsetsongraise}\verb|{1}{2\Interligne}|\>same as \verb|{\lyrraisemulti}{1}{b 2\Interligne}|\\ +\keyexample{oldlyrlinestart}\>don't let the lyrics extent to the left margin\\ +\end{tabbing} + +As a further illustration of the use of the commands, have a look at the following +example\footnote{The example is taken from the musixlyr manual.}: + +\medskip\medskip +%\oneversespace \begin{music} -\parindent0pt -\generalsignature{-2} -\generalmeter\allabreve -\startextract -\NOTes\dzq o\zh d\hu h\enotes -\Notes\ibu0k0\zq g\yqb0k\qb0j\zq e\yqb0i\tbu0\qb0j\enotes -\bar -\NOTes\dzq g\hu k\enotes -\NOTes\hpause\enotes -\bar -\NOTes\dzq o\zh d\hl h\enotes -\Notes\ibl0e0\zq g\yqb0k\qb0j\zq e\yqb0i\tbl0\qb0j\enotes -\bar -\NOTes\dzq g\hu k\enotes -\NOTes\hpause\enotes -\endextract +\input musixlyr + \resetlyrics \small +\lyrmodealter0 + \setlyrics{soprano}{bring her die Gans,} \auxlyr{\assignlyrics1{soprano}} + \copylyrics{soprano}{alto} \assignlyrics1{alto} + + \generalsignature{-2} + \advance\stafftopmarg1\Interligne + \advance\staffbotmarg2\Interligne + + \startextract\addspace\afterruleskip + \NOtes\zqu g\ql e\en + \bar + \Notes\zqu i\beginmel\ibslurd0f\ibl0f{-1}\qb0{fe}\en + \Notes\auxlyr\beginmel\ibsluru1i\zqup i\qb0d\en + \Notes\tqb0e\en + \Notes\endmel\tbslurd0e\ql c\en + \notes\ibbu0h{-1}\qb0h\tqh0g\en + \NOtes\auxlyr\endmel\tbsluru1h\zqu h\ql c\en + \bar + \NOTEs\auxlyr\lyr\zwh i% The lyrics of the whole notes + \lyr\wh b\en % must be given manually. + \endextract + \lyrmodenormal0 \end{music} -It was coded as follows: -\begin{quote}\begin{verbatim} +\medskip + +%\oneversespace + +which was coded as: +\begin{quote} +\begin{verbatim} +% define lyrics above the staff +\setlyrics{soprano}{bring her die Gans,} +% lyric beneath the staff are the same +\copylyrics{soprano}{alto} +% assign alto lyrics below staff 1 on the notes with stem down +\assignlyrics1{alto} +% assign soprano lyrics above staff 1 on the notes with stem up +\auxlyr{\assignlyrics1{soprano}} +% attach both lyrics to the upper voice +\lyrmodealter0 \generalsignature{-2} -\generalmeter\allabreve -\startextract -\NOTes\dzq o\zh d\hu h\enotes -\Notes\ibu0k0\zq g\yqb0k\qb0j\zq e\yqb0i\tbu0\qb0j\enotes -\bar -\NOTes\dzq g\hu k\enotes -\NOTes\hpause\enotes -\bar -\NOTes\dzq o\zh d\hl h\enotes -\Notes\ibl0e0\zq g\yqb0k\qb0j\zq e\yqb0i\tbl0\qb0j\enotes -\bar -\NOTes\dzq g\hu k\enotes -\NOTes\hpause\enotes +% make place for the lyrics +\advance\stafftopmarg1\Interligne\advance\staffbotmarg2\Interligne +\startextract\addspace\afterruleskip +\NOtes\zqu g\ql e\en\bar +% start melisma in lower lyrics +\Notes\zqu i\beginmel\ibslurd0f\ibl0f{-1}\qb0{fe}\en +% start melisma in upper lyrics +\Notes\auxlyr\beginmel\ibsluru1i\zqup i\qb0d\tqb0e\en +% end melisma in lower lyrics +\Notes\endmel\tbslurd0e\ql c\en +\notes\ibbu0h{-1}\qb0h\tqh0g\en +% start melisma in upper lyrics +\NOtes\auxlyr\endmel\tbsluru1h\zqu h\ql c\en\bar +% The lyrics of the whole notes (without stem) must be given manually. +\NOTEs\auxlyr\lyr\zwh i\lyr\wh b\en \endextract +\lyrmodenormal0 \end{verbatim}\end{quote} - \subsection{Usual percussion music} -Besides single percussion scores usually -written using one-line staffs, percussion music involving several instruments -is often writen on five-line staffs with a \ital{drum clef}, where the -instruments are distinguished by the type of the note heads and the apparent -pitch of the note on the staff. We give an example --- kindly provided by -Agusti {\sc Mart\'in Domingo}: + \subsection{Getting enough vertical space for lyrics} + Since songs are +usually equivalent to a one-staff instrument (possibly with several voices) +the recommended solution consists in adjusting the distance between +instruments using either \keyindex{interinstrument}\verb|=|\ital{any +\TeX-dimension} to give more place below all instruments or using +\keyindex{setinterinstrument} to make more space above. Note that {\Bslash +setinterinstrument} defines spacing above and not below an instrument. Since +lyrics are usually set below the staff, the first argument of a +\verb|\setinterinstrument| should be the song instrument number \ital{minus +one}. + + In the case of a single staff tune, or if the song instrument is the lowest +one, then additional place can be provided using \keyindex{staffbotmarg}. + +\subsection{Fine tuning the placement of the lyrics} + When not using \verb|\hardlyrics|, on short notes, sometimes + the lyrics are shifted away from the notes or they collide with other words. + This are a few approaches to get around this: +\begin{enumerate}\setlength{\itemsep}{0ex} +\item Making more music lines for the notes to go further apart. This could be done with +\verb|\mulooseness|. +\item Stretch a bar with short notes in it by i.e.\ replacing \verb|\notes| by \verb|\NOTes|. +\item Insert space between the notes by using \verb|\sk|, \verb|\hsk|, \verb|\qsk|... +\item Stretch a bar with short notes in it by using the command \keyindex{scale}: +\begin{verbatim} +\scale{1.6}\notes..\en\scale{1}% +\end{verbatim} +This method can be used in \textbf{PMX} but only with care, because it changes horizontal spacing +in a way that \textbf{PMX} will not be aware of. It will not move bars to the next line, but +will shorten the other bars on the line. + +As an example, the lyrics of this music line are better placed by using \verb|\scale| in +the first bar and moving to the left the word 'mon'. Note that the hyphen is removed +when there is no place for it: + + \begin{music} + \input musixlyr + \resetlyrics + \setlyrics{v1}{Au clair de la lu-ne, mon a-mi Pier-rot,}% + \assignlyrics1{}\assignlyrics1{v1}% + \staffbotmarg2\Interligne\generalsignature{1}% + \startextract + \geometricskipscale + \notes\qu{gggh}\en\bar + \Notes\hu{ih}\en\bar + \notes\qu{gihh}\en\bar + \Notes\wh g\en + \endextract +% \end{music} +%%%%% combined for saving registers %%%%% +% \begin{music}\nostartrule +% \input musixlyr + \resetlyrics + \setlyrics{v1}{Au clair de la lu-ne, \kernm1exmon a-mi Pier-rot,}% + \assignlyrics1{}\assignlyrics1{v1}% + \staffbotmarg2\Interligne\generalsignature{1}% + \startextract \geometricskipscale + \scale{1.4}\notes\qu{gggh}\en\bar\scale{1}% + \Notes\hu{ih}\en\bar + \notes\qu{gihh}\en\bar + \Notes\wh g\en + \endextract + \end{music} \medskip -\begin{music} -\generalmeter{\meterfrac44} -\setclefsymbol1\drumclef -\parindent0pt\startpiece -\leftrepeat -\Notes\zql f\rlap\soupir\ibu0m0\xqb0{nn}\enotes -\Notes\kzq d\zql f\zq j\xqb0n\tbu0\xqb0n\enotes -\Notes\zql f\rlap\soupir\ibu0m0\xqb0{nn}\enotes -\Notes\kzq d\zql f\zq j\xqb0n\tbu0\xqb0n\enotes -\bar -\Notes\zql f\rlap\soupir\ibu0m0\kqb0{nn}\enotes -\Notes\xzq d\zql f\zq j\kqb0n\tbu0\kqb0n\enotes -\Notes\zql f\rlap\soupir\ibu0m0\kqb0{nn}\enotes -\Notes\xzq d\zql f\zq j\kqb0n\tbu0\kqb0n\enotes -\bar -\Notes\zql f\rlap\soupir\ibu0m0\oxqb0{nn}\enotes -\Notes\oxzq d\zql f\zq j\kqb0n\tbu0\oxqb0n\enotes -\Notes\zql f\rlap\soupir\ibu0m0\oxqb0{nn}\enotes -\Notes\oxzq d\zql f\zq j\kqb0n\tbu0\oxqb0n\enotes -\setrightrepeat\endpiece +The code of the second music line is (\verb|\assignlyrics1{}| is only needed because +lyrics are assigned before this in this manual): +\begin{quote}\begin{verbatim} + \begin{music} + \input musixlyr + \resetlyrics + \setlyrics{v1}{Au clair de la lu-ne, \kernm1exmon a-mi Pier-rot,}% + \assignlyrics1{}\assignlyrics1{v1}% + \staffbotmarg2\Interligne\generalsignature{1}% + \startextract \geometricskipscale + \scale{1.4}\notes\qu{gggh}\en\bar\scale{1}% + \Notes\hu{ih}\en\bar + \notes\qu{gihh}\en\bar + \Notes\wh g\en + \endextract + \end{music} +\end{verbatim}\end{quote} + +\item Moving a word in any direction + +\noindent\begin{tabular}{ll} +\multicolumn{2}{l}{\Bslash setlyrics\{alto\}\{\Bslash kernm3ex1.$\sim\sim$firstsyllable...\}}\\ +& left moving for numbering verses\\ +\verb|\setlyrics{alto}{...\kern1exword...}| &right moving a single word\\ +\verb|\setlyrics{alto}{...\lower2pt\hbox{word}...}|& lowering a single word\\ +\verb|\setlyrics{alto}{...\raise2pt\hbox{word}...}|& raising a single word\\ +\multicolumn{2}{l}{\Bslash def\Bslash strut\{\Bslash vbox to 2\Bslash Interligne\{\}\}% +\Bslash setlyrics\{alto\}\{\Bslash lyrlayout\{\Bslash strut\}...\}} \\ +& controlling distance between verses\\ +\verb|\lyrlayout{\vphantom{Mp(\lowlyrlink}|& minimum distance between verses\\ +\multicolumn{2}{l}{\Bslash setbox\Bslash lyrstrutbox=\Bslash hbox\{\Bslash vphantom\{yM\Bslash lyrlink\}\}}\\ +& redefining default lyrstrut +\end{tabular} + +\item Placing of accents can be made easier as shows this example: +\begin{center} +\begin{minipage}{50mm} +\begin{music}\nostartrule +\input musixlyr +\catcode`\ä\active \defä{\"a} +\catcode`\ö\active \defö{\"o} +\catcode`\å\active \letå\aa +\setlyrics1{å ä ö} +\assignlyrics1{}\assignlyrics11 +\startextract + \setsongraise1{1ex}\NOtes\qa{ggg}\en +\zendextract \end{music} - Its coding was: - \begin{quote}\begin{verbatim} -\begin{music} -\instrumentnumber{1} -\generalmeter{\meterfrac44} -\setclefsymbol1\drumclef -\parindent0pt\startpiece -\leftrepeat -\Notes\zql f\rlap\soupir\ibu0m0\xqb0{nn}\enotes -\Notes\kzq d\zql f\zq j\xqb0n\tbu0\xqb0n\enotes -\Notes\zql f\rlap\soupir\ibu0m0\xqb0{nn}\enotes -\Notes\kzq d\zql f\zq j\xqb0n\tbu0\xqb0n\enotes -\bar -\Notes\zql f\rlap\soupir\ibu0m0\kqb0{nn}\enotes -\Notes\xzq d\zql f\zq j\kqb0n\tbu0\kqb0n\enotes -\Notes\zql f\rlap\soupir\ibu0m0\kqb0{nn}\enotes -\Notes\xzq d\zql f\zq j\kqb0n\tbu0\kqb0n\enotes -\bar -\Notes\zql f\rlap\soupir\ibu0m0\oxqb0{nn}\enotes -\Notes\oxzq d\zql f\zq j\kqb0n\tbu0\oxqb0n\enotes -\Notes\zql f\rlap\soupir\ibu0m0\oxqb0{nn}\enotes -\Notes\oxzq d\zql f\zq j\kqb0n\tbu0\oxqb0n\enotes -\setrightrepeat\endpiece +\end{minipage}% +\begin{minipage}{80mm} +\verb|\catcode`\|\"a\verb|\active \def|\"a\verb|{\"a}|\\ +\verb|\catcode`\|\"o\verb|\active \def|\"o\verb|{\"o}|\\ +\verb|\catcode`\|\aa\verb|\active \let|\aa\verb|\aa|\\ +\verb|\setlyrics1{|\aa\ \"a\ \"o\verb|} \assignlyrics1{}|\\ +\verb|\assignlyrics11|\\ +\verb|\startextract|\\ +\verb|\NOtes\qa{ggg}\en|\\ +\verb|\zendextract|\\ +\end{minipage} +\end{center} +\item Using an 8-bit encoded characterset\label{8bit} + +This can be achieved +by putting +\verb+\input plainenc\relax\inputencoding{cp850}+ +at the beginning of the file. + +Here you must adapt the character +set to your region. +To do this, if necessary, replace \verb+cp850+ by +\verb+cp1250+ (Czech, Croation region), +\verb+cp1251+ (Russian, Bulgarian region), +\verb+cp1252+ (most other European regions), +\verb+cp1253+ (Greek region) +or check your \TeX distribution for the right file. + +This is the coding for the previous example by using an 8-bit characterset: + +\begin{center} +\begin{minipage}{25mm} +\begin{music}\nostartrule +% this manual is in latex, the 8bit is taken by +% \usepackage[ansinew]{inputenc} +% +%\input plainenc\relax\inputencoding{cp850} +\input musixtex +\input musixlyr +\setlyrics1{á ä ö}\assignlyrics1{}\assignlyrics11% +\startextract% +\znotes\zcharnote{12}{Poème naïf}\en% +\Notes\qa{ggg}\en% +\zendextract% \end{music} - \end{verbatim}\end{quote} - To use these different note heads, one must - \begin{itemize} - \item either include a specific percussion file namely\index{percussion -music} \ttxem{musixper.tex} after the usual \verb|\input musixtex|; - \item use special macro names to replace the usual elliptic black note head -with other available note heads. Today only the most used note types are -supported. - \end{itemize} +\end{minipage} +~~~~~~ +\begin{minipage}{100mm}% program to run apart from musixdoc +\verb+\input plainenc\relax\inputencoding{cp850}+\\ +\verb+\input musixtex+\\ +\verb+\input musixlyr+\\ +\verb+\startpiece%+\\ +\verb+\znotes\zcharnote{16}{Poème naïf}\en%+\\ +\verb+\setlyrics1{á ä ö}\assignlyrics11%+\\ +\verb+\Notes\qa{ggg}\en%+\\ +\verb+\Endpiece\vfill\eject \bye+ +\end{minipage} +\end{center} +\end{enumerate} -\section{Writing your own macros: the {\Bslash catcode} problems} -As seen before, the \keyindex{catcodes} of the \| and \verb|&| symbols -are modified by \musixtex, in the range of the actual scores but not -in the whole of the \TeX\ source. -Thus, if you define your own macros to make -your writing easier, you are likely to invoke the \| or \verb|&| -symbols in a part of text where their \keyindex{catcode}s are not correctly set. -\index{"|@{\tt\char'174}} -This may result typically in a diagnostic like: - -\verb|! Misplaced alignment tab character &.| - -\noindent when you attempt, not to define, but to use your macro using the -\verb|&| symbol to change the instrument. Smart \TeX ers know that the -\keyindex{catcode}s are attached to the characters \ital{when they are input} -and not when they are used; thus you must be sure that \| and \verb|&| -have the correct \musixtex\ \keyindex{catcode} when the macro is defined, -which may well occur outside the actual score. - -It is also worth pointing out that the same problem may occur with other -punctuation marks like ``\verb|<|'', ``\verb|>|'', ``\verb|^|, -etc., if their \keyindex{catcode} has been changed by some other set of -macros, like \ttxem{french.sty}. - -\section{\LaTeX~and \musixtex} - \subsection{The {\tt musixtex.sty} style}\label{musixltx} - As said before, the amount of memory and registers used by \musixtex\ makes -it hardly compatible with \LaTeX. However, Nicolas {\sc -Brouard}\index{Brouard, N.@{\sc Brouard, N.}} succeeded in building a -\ttxem{musixltx.tex} which is now included in the distribution. This is -not recommended to make separate music scores. Its purpose is rather to -provide a means of inserting short musical excerpts in books or articles -written with \LaTeX. Then, the \keyindex{documentstyle} command should -include {\tt musixtex} in the options. - -The \LaTeX\ \index{LaTeX@\LaTeX}style file \ttxem{musixtex.sty} -simply \verb|\input|s the following files (in that very order): -\begin{itemize} - \item \verb|musixtex.tex| - \item \verb|musixltx.tex| -\end{itemize} - In case of \verb|TeX capacity exceeded...|, use a ``Bigla\TeX'' (after -checking there is no visible error in the source -code).\index{BigLaTeX@Big\LaTeX} - \subsection{Wide music in \LaTeX}\label{musixblx} - Another difficulty appears with \LaTeX: internal \LaTeX\ macros handle the -page size in a way which is not supposed to be changed within a given document. -This means that text horizontal and vertical sizes are somewhat frozen so that -one can hardly insert pieces of music of page size different from the size -specified by the \LaTeX{} \itxem{style}. -Although a \ttxem{musixblx.tex} has been provided, which makes the -\ital{environment} \verb|bigmusic| available. -\zkeyindex{begin\LBR bigmusic\RBR} -The main drawback is an unpredictable behaviour of top and bottom -printouts, especially page numberings. - - If the whole of a document has wide pages, it can be handled with the -\ttxem{a4wide} style option, or any derivate of it. - \subsection{The {\Bslash catcode} problems} - The \verb|musixltx.tex| file merely overrides the \keyindex{catcode}s of the -\| and \verb|&| symbols which are modified by \musixtex. To have access to -these symbols when coding music, you should enclose the scores or excerpts -within \verb|\begin{music}| and \verb|\end{music}|. But there is also another -possibility, i.e.\ to say \keyindex{nextinstrument} instead of -\verb|&|\index{\&} and \keyindex{nextstaff} instead of \|. -\index{"|@{\tt\char'174}} - - Another problem comes from the {\tt\ixem{french.sty}} written by Bernard -{\sc Gaulle}\index{Gaulle, B.@{\sc Gaulle, B.}} which is the standard of the -\ixem{GUTenberg} French association. This style changes many -\keyindex{catcode}s which lead \musixtex\ to fail in many cases. Therefore -the \keyindex{catcode}s of all are forced to the adequate value at -\keyindex{startpiece}, \keyindex{startextract} and restored at their original -value at \keyindex{endpiece}, \keyindex{stoppiece} and \keyindex{endextract}. -This means that some facilities like the \itxem{guillemets} or the -\itxem{tabulation} character are inhibited within music scores (possible -problem with sophisticated \itxem{lyrics}) but perfectly available within the -normal text. - - Anyway, in case of emergency, one can invoke \keyindex{catcodesmusic} to -establish the \keyindex{catcode}s at their value fit for music, and -\keyindex{endcatcodesmusic} to reset them at their external value, for example -those chosen by \verb|french.sty|. - -\section{Implementation and restrictions} - - The macroinstruction file \musixtex\ contains approximately 4200 lines of -code, that is 98~000 bytes approximately. This requires your score to be -compiled by the most extended versions of \TeX\ (65~000 words of working -memory). It is therefore wise to say \verb|\tracingsstats=2| in -order to have an information about the memory used in each page. In desperate -situations, we recommend using the ``Big\TeX'' processors which, -unfortunately, performed a great deal of disk input/outputs (on PCs with i286 -processors) which made them awfully slow. Of course, using i386 or i486 or Pentium -processors, this problem disappears with the specific version of -{\tt emTeX}, namely {\tt tex386}.\index{BigTeX@Big\TeX}\index{emTeX@em\TeX} - -In particular, the number of registers it uses and the amount of memory used -by \LaTeX\ macros makes it doubtfully compatible with \LaTeX, unless using -Big\LaTeX.\index{BigLaTeX@Big\LaTeX} - -Other precautions are necessary: beware of end-of-line spaces; they corrupt -layout and cause {\tt underfull/overfull hbox} warnings during third pass. -To avoid that, it is recommended -to use \verb|%| at the end of source lines. - - -%\subsection{ABC2MTeX} -% Generally: yes -%\subsection{MIDI2TeX} -% s.a.a. (I already use a modified one, Thanx to C) -%\subsection{SceX} -% next time - -\section{From \musictex~to \musixtex: {\tt musixcpt}} -\label{compatibility} - -This file is intended to run `{\bf old}' input files with as less changes -(read \verb|musicdoc| {\bf and} \musixtex's laws~!) as possible. It slows -down the speed and makes it impossible to use some\footnote{This was the will -of one of the authors (A.E.) but we (we=D.T.) are now tending to remove any -incompatibilities of {\tt musixcpt} with plain \musixtex.} of \musixtex\ -commands. - - To run \musictex\ examples --- not withstanding restrictions related to -glue and ``hard'' spacings forbidden with -\musixtex\ --- just replace all previous \verb|\input music*| by: - - \verb|\input musixtex| - - \verb|\input musixcpt| - -\noindent and, optionally - - \verb|\input musixsty| - -\subsection{Compatibility restrictions} - -The \ttxem{musixcpt.tex} file holds up -compatibility to \musictex's sources, but there are some restrictions, which -are caused either by missing glue in \musixtex\ --- sometimes ugly, but -generally harmless --- or by some hard spacings such as \verb|\hbox|es -containing lyrics exceeding the \keyindex{noteskip} dimension, and resulting -in ``overfull hbox[es]'' that is, notes and symbols outside the score limits, -with the heavy vertical bar as a standard \TeX\ punishment. - -The easiest way to avoid this consists in ending systematically -\ital{all}\footnote{ALL lines, not ``most of them''.} input -lines between \keyindex{startpiece}...\keyindex{stoppiece}\footnote{or -\keyindex{Stoppiece} or \keyindex{endpiece} or \keyindex{Endpiece}.} -with a comment sign\footnote{For \TeX perts: every line -which does not end with a command}, namely a ``\verb|%|''. - -\medskip Besides, one might want to have a unique source file to be compiled -with both the \musictex\ format and the \musixtex\ format, and\footnote{This -might be considered as an excessive requirement, but we (D.T.) think it is a -good way of including \musixtex's new facilities...} taking advantage of some -specific possibilities of \musixtex. The leads to a need of testing whether -the source file is compiled with one format or the other. In fact this test is -easy:\zkeyindex{mxversion} - -\verb|\ifx\mxversion\undefined| - -\ \ \ the specific \musictex\ code - -\verb|\else| - -\ \ \ the specific \musixtex\ code, taking advantage of new features - -\verb|\fi| - -\medskip Several examples are now included in \musictex's examples, for -example {\tt pacifiqn.tex}. Of course this would fail if the user -inadvertently decided to define the command {\Bslash mxversion} in his source -text. - %\check +\section{Embedding musical excerpts in text documents} + +Here we discuss the options for including music in text documents. The first +decision is whether or not to use \LaTeX\footnote{We'll assume a user wanting +to embed a musical excerpt in a \LaTeX\ document is already familiar with the +fundamentals of \LaTeX. For more information about it, see for example the manual +\ital{\LaTeX: A Document Preparation System} by Leslie {\sc Lamport}}. +Because \LaTeX\ so effectively simplifies +production of text-based \TeX\ documents, most users take that path, and most of the +descriptions given here will assume that's the case\footnote{Please do not be confused; +while \LaTeX\ is recommended for text-based documents containing musical +exceprts, its use is definitely discouraged for ordinary self-contained musical scores +of any sort.}. + +If for some reason you choose not to use \LaTeX\ to emplace musical excerpts, +the basic approach is simply to set off the musical +parts between \verb|\startpiece| or \verb|\contpiece| and \verb|\stoppiece| or +\verb|\endpiece|, or between \verb|\startextract| and \verb|\zendextract|. But +some details in what follows will also apply with no \LaTeX. + +There are two basic approaches to embedding musical excerpts in \LaTeX\ +documents. The first method is to directly include the \musixtex\ code in +the \LaTeX\ source file. That will be the subject of the next subsection. The +other is to create an EPS (encapsulated Postscript) file containing only the +excerpt, and then ``paste'' it into the \LaTeX\ file. That will be covered in +subsection \ref{embedeps}. + +The advantages of using the direct method are that all of the source code for +all excerpts can be kept in the same file as the text, and that there is no +limit on the length of the excerpt. +The advantage of the EPS method is that you don't have to burden the \LaTeX\ +source with any of the \musixtex\ paraphernalia. That in turn permits use of +primitive versions of the \TeX\ compiler that may not have the capacity +to handle the direct method (due to the number of registers consumed by \LaTeX\ +and \musixtex). The disadvantages are that you must create and keep +track of a separate \TeX\ and EPS file for every excerpt, and that the excerpt +must not span any page breaks. On balance, the +direct method is probably to be preferred. + +\subsection{Directly embedding excerpts in \LaTeX\ documents}\label{excerpts} + +To use the direct method, you should include ``\verb|musixtex|'' as one of the +arguments of the \keyindex{documentstyle} command. This will cause the file +\ttxem{musixtex.sty} to be loaded, so naturally you must make that file +available in a place where \TeX\ can find it. That file simply inputs two +other files, \verb|musixtex.tex| and \ttxem{musixltx.tex}, which again must +obviously be available to \TeX. + +Now you are in position to directly embed an excerpt by inserting code at the +appropriate place in the source file. The most common type of excerpt is +one that occupies less than a full line and is to be horizontally centered. In +that case, the extract should begin with the command \keyindex{begin\LBR music\RBR}, +followed by any preliminary commands. Then, instead of \verb|\startpiece|, +use \keyindex{startextract}. Now comes the normal \musixtex\ coding. Finally, +end the extract with \keyindex{endextract} instead of \verb|\endpiece| +or \verb|\stoppiece|, followed by \keyindex{end\LBR music\RBR}. + +To terminate an extract without any bar line, use \keyindex{zendextract} +instead of \verb|\zendextract|. + +To create a left-justified excerpt, use the sequence +\keyindex{let\Bslash extractline\Bslash leftline}. + +If several extracts are to be placed on the same line, you can +redefine \keyindex{extractline} as demonstrated in the following +example\footnote{The macro {\tt\Bslash extractline} is defined once and for all in +{\tt musixtex.tex} as {\tt\Bslash centerline}. You might think that the suggested +coding would permanently redefine {\tt\Bslash extractline}, thereby upsetting the +normal function of {\tt\Bslash startextract ... \Bslash endextract} for subsequent use. +But it doesn't, because any actions within +\keyindex{begin\LBR music\RBR}...\keyindex{end\LBR music\RBR} are local, not +global.}: + +% DAS temp (where is the reference???) +%An example of this is given at \ref{extractline} on page \pageref{extractline}. +% end DAS temp +\begin{quote}\begin{verbatim} +\begin{music}\nostartrule +\let\extractline\hbox +\hbox to \hsize{% +\hss\startextract ... \zendextract\hss% +\hss\startextract ... \zendextract\hss} +\end{music} +\end{verbatim}\end{quote} -\subsection{Additional commands in {\tt musixcpt.tex}} +An even shorter type of extract is one that is embedded \ital{within} a line of text. +To insert \musixtex\ symbols within a line of text, you could begin by defining +\keyindex{notesintext} as follows\footnote{provided by Rainer {\sc Dunker}}: -The tentative user looking in given examples might find commands not described -in the \musixtex\ manual (this one). Most frequent are (in case of missing -description, revert to \musictex's manual, namely {\tt musicdoc.tex}, {\tt -musicdoc.dvi}, {\tt musicdoc.ps}, {musicdoc.lj}, etc.): +\begin{quote}\begin{verbatim}\begin{music}\nostartrule +\makeatletter +\def\notesintext#1{% + {\let\extractline\relax + \setlines10\smallmusicsize \nobarnumbers \nostartrule + \staffbotmarg0pt \setclefsymbol1\empty \global\clef@skip0pt + \startextract\addspace{-\afterruleskip}#1\zendextract}} +\makeatother +\end{music}\end{verbatim}\end{quote} -\begin{itemize} - \item\keyindex{qh} : same as \verb|\qb|, but was different with \musictex, -since it distinguished notes hanging above (\verb|\qb|) and below (\verb|\qh|) -the beam(s). - \item\keyindex{debutmorceau} : nearly but not exactly the same as -\verb|\startpiece|. - \item\keyindex{suspmorceau} : suspends the score at the end of the line, in -order to permit inserting ordinary \TeX\ commands. Similar to -\keyindex{stoppiece} but performs line counting necessary then using -\musictex's \verb|\autolines| feature. - \item \keyindex{reprmorceau} is synonym of \verb|\contpiece|. - \item \keyindex{lreprmorceau} is synonym of \verb|\contpiece|. - \item \keyindex{preprmorceau} ejects a newpage and performs \verb|\contpiece|. - \item \keyindex{finmorceau} is synonym of \verb|\Stoppiece|, i.e. with heavy -ending double bar.. - - \item\keyindex{barre} : same as \verb|\bar|. - \item\keyindex{dsoupir} : same as \verb|\ds|. - \item\keyindex{qsoupir} : same as \verb|\qs|. - \item\keyindex{demisoupir} : same as \verb|\ds|. - \item\keyindex{temps} : was glue in \musictex, now equivalent to -\verb|\empty|. - \item\keyindex{autolines} is fit for scores with -bars of regular length: after \keyindex{startpiece}, you code the -following macro: - - -\medskip\Bslash autolines $tml$ - -\medskip\noindent\rm where $t$ is the number of \ital{elementary spacings} -(the length of {\Bslash notes...\Bslash enotes}) in an average bar, $m$ is the -number of bars you wish in a line and $l$ is the number of lines you wish in a -page. This sets some parameters, namely \keyindex{maxbarsinline} and -\keyindex{maxlinesinpage} which are simply used to count the bars (counter is -\keyindex{barsinline}), optionally perform \keyindex{alaligne} or -\keyindex{alapage} (counter is \keyindex{linesinpage}) instead of the normal -\verb|barre| or \verb|bar|. You may freely alter the values of these -parameters, once they have been established by \keyindex{autolines}. Moreover, -you can still force line-breaking of page ejection using {\Bslash alaligne} or -\keyindex{alapage} without problem since these macros actually reset the bar -counters appropriately. +Then, for example, the code - \end{itemize} +\begin{verbatim} +Use \raisebox{0ex}[0ex][0ex]{\notesintext{\notes\rql1\qu2\en}} +not \raisebox{0ex}[0ex][0ex]{\notesintext{\notes\ql2\lqu1\en}} +\end{verbatim} - %\check -% \subsection{Often reported problems} +\noindent would produce: ``Use \raisebox{0ex}[0ex][0ex]{\notesintext{\notes\rql1\qu2\en}} not +\raisebox{0ex}[0ex][0ex]{\notesintext{\notes\ql2\lqu1\en}}~''. + +\noindent The \verb|\raisebox| voids the vertical space that is introduced by the notes. + +Finally, you may want to insert an extract containing more than one line +of music. Once having mastered \musixtex, this is the easiest of all: Between +\verb|\begin{music}\nostartrule| and \verb|\end{music}|, use \ital{exactly} the same +coding you would to make an ordinary score. + +The best way to learn how to apply these methods is to study +\verb|musixdoc.tex|, the source file for this document\footnote{Do note, +however, that {\tt musixdoc.tex} includes {\tt musixdoc} but not {\tt musixtex} +as an argument of {\tt\Bslash documentstyle}. The former performs the functions +of the latter as well as numerous tasks peculiar to this particular document.}. + +%DAS I don't think this section is worth including. + +% \subsection{Wide music in \LaTeX}\label{musixblx} +% Another difficulty appears with \LaTeX: internal \LaTeX\ macros handle the +%page size in a way which is not supposed to be changed within a given document. +%This means that text horizontal and vertical sizes are somewhat frozen so that +%one can hardly insert pieces of music of page size different from the size +%specified by the \LaTeX{} \itxem{style}. +%Although a \ttxem{musixblx.tex} has been provided, which makes the +%\ital{environment} \verb|bigmusic| available. +%\zkeyindex{begin\LBR bigmusic\RBR} +%The main drawback is an unpredictable behaviour of top and bottom +%printouts, especially page numberings. +% +% If the whole of a document has wide pages, it can be handled with the +%\ttxem{a4wide} style option, or any derivate of it. + +\subsection{Embedding musical excerpts as encapsulated postscript files} +\label{embedeps} +To use this method of including excerpts, you first must create a separate +\musixtex\ input file for each excerpt. Process each such file with +\TeX\ and \verb|musixflx| to generate a \verb|.dvi| file. Generate +a postscript file from each \verb|.dvi| using \verb|dvips|. Then +convert each postscript file to an \verb|.eps| file. One way to do that is +with \textbf{ghostscript} and---if you are using Windows---\textbf{GSview}. +In general this is possible only for single-page postScript files. + +To set up your \LaTeX\ document for including \verb|.eps| files, you must post +the command \verb|\usepackage[dvips]{graphicx}| in the preamble of the +document. Now, you may include each \texttt{.eps} file at the appropriate place +in the {\LaTeX} document with a command +like \keyindex{includegraphics}\verb|{sample.eps}|. + +\subsection{Issues concerning \texorpdfstring{{\Bslash catcodes}}{catcodes}} +\label{catcodeprobs} + +\musixtex\ uses the following symbols differently from plain \TeX: \verb|>|, + \verb|<|, \verb&|&, \verb|&|, \verb|!|, \verb|*|, \verb|.|, and \verb|:|\ .\\ +The symbols are given their special meanings by executing the macro +\keyindex{catcodesmusic}, and are restored to their plain \TeX\ meanings with +\keyindex{endcatcodesmusic}. When setting either a self-contained score or +a musical extract, you normally need not worry +about this at all, because \verb|\startpiece| or \verb|\startextract| executes +\verb|\catcodesmusic| and \verb|\endpiece| or \verb|\zendextract| executes +\verb|\endcatcodesmusic|. But there are some special situations where you +might need to use these catcode-modifying macros explicitly. One is if you +were to define a personalized macro outside +\verb|\startpiece ... \endpiece|, but which incorporated any of the +symbols with their \musixtex\ meanings. Another would be if you wished to have +access to facilities enabled by alternate style files such as +{\tt\ixem{french.sty}} which change \keyindex{catcode}s themselves. In +such cases, provided you have input \verb|musixtex.tex|, you can always +invoke \keyindex{catcodesmusic} to set the \keyindex{catcode}s at their +\musixtex\ values, and \keyindex{endcatcodesmusic} to restore them to their +prior values. - %\check \section{Extension Library} -All following files are invoked with saying \keyindex{input} \ital{filename} - \subsection{musixadd} -Increases the number of instruments, slurs and beams up to nine. +All following files are invoked by saying \keyindex{input} \ital{filename}\ . +Most of them are fully compatible with \musixtex\ in that they do not redefine +any existing macros but rather provide additional functionality. In future +versions of \musixtex\ we may very well incorporate many of them directly into +\verb|musixtex.tex|, but for now we leave them separate. + + \subsection{curly} +Allows you to group more than 1 instrument with curly +brackets (see \ref{curlybrackets}). + + \subsection{musixadd}\ixtt{musixadd.tex} +Increases the number of instruments, slurs and beams from six to nine. + \subsection{musixbm} - Provides 128th notes, either with hooks or with beams, namely the + Provides 128th notes, either with flags or with beams, via the commands \keyindex{ibbbbbu}, \keyindex{ibbbbbl}, \keyindex{nbbbbbu}, @@ -6013,9 +6863,10 @@ Increases the number of instruments, slurs and beams up to nine. \keyindex{ccccca}, \keyindex{zcccccu}, \keyindex{cccccl} and -\keyindex{zcccccl} commands. +\keyindex{zcccccl}. + \subsection{musixbbm} - Provides 256th notes, only with beams, namely the + Provides 256th notes, only with beams, via the commands \keyindex{ibbbbbbu}, \keyindex{ibbbbbbl}, \keyindex{nbbbbbbu}, @@ -6023,20 +6874,28 @@ Increases the number of instruments, slurs and beams up to nine. \keyindex{tbbbbbbu}, \keyindex{tbbbbbbl}, \keyindex{Ibbbbbbu} and -\keyindex{Ibbbbbbl} commands. - \subsection{*musixcho}\label{song} - These are some macros fit for chorus music. Provides following commands: +\keyindex{Ibbbbbbl}. + +\subsection{musixcho}\label{song} + Enables certain macros intended for choral music\footnote{Remember +that we now recommend using \texttt{musixlyr} for any except the +simplest lyrics. The extension \texttt{musixcho} is only for those +diehards who choose to ignore this advice}. Provides the following commands: \keyindex{biglbrace}, \keyindex{bigrbrace}, \keyindex{braceheight}, -\keyindex{Dtx} and \keyindex{Drtx} for double text, \keyindex{Ttx} and -\keyindex{Trtx} for triple text, \keyindex{Qtx} and \keyindex{Qrtx} for -quadruple text. +\keyindex{Dtx} and \keyindex{Drtx} for two-line text, \keyindex{Ttx} and +\keyindex{Trtx} for three-line text, \keyindex{Qtx} and \keyindex{Qrtx} for +four-line text. To eliminate zigzagging lyrics lines, all multiple line texts +are automatically vertically justified with the macro \keyindex{ChroirStrut}, +defined as \verb|\vphantom{\^Wgjpqy}|. -\keyindex{tx}\verb|{|$text$\verb|}|, -\keyindex{rtx}\verb|{|$text$\verb|}| for text of songs, with text extending -to right instead centered. - \keyindex{hf}\verb|{|$m$\verb|}| sets text -continuation rule of width $m$ \verb|\noteskip|. +The macros \keyindex{tx}\verb|{|$text$\verb|}|, +\keyindex{rtx}\verb|{|$text$\verb|}| cause song text to be left-justified +on the insertion point rather then centered. + \keyindex{hf}\verb|{|$m$\verb|}| sets a text +continuation rule of length $m$ \verb|\noteskip|. +Consult the source file {\tt musixdoc.tex} to see the coding of the following +example: \begin{music} \tenrm @@ -6097,19 +6956,21 @@ continuation rule of width $m$ \verb|\noteskip|. \endpiece \end{music} - See {\tt musixdoc.tex} source to get the coding of this long example. - - Note that, since vertion T.89, multiple line texts are vertically justified - with a \keyindex{ChroirStrut} macro defined as \verb|\vphantom{\^Wgjpqy}| to -eliminate zigzagging lyrics lines. - - %\check - \subsection{musixdat} -Here is the command \keyindex{today} defined for several languages. -The default is \keyindex{dateUSenglish}, but this can freely be changed at -end of \ttxem{musixdat.tex}. -Also available are \keyindex{dategerman}, \keyindex{dateaustrian}, -\keyindex{dateenglish} and \keyindex{datefrench}, which yields: +\subsection{musixcpt} + +Empowers \musixtex\ to run files created under +Musi\textbf{c}TeX, the predecessor of \musixtex, such as some of the examples +provided by Dani\"el {\sc Taupin}. It is not needed for any files created +under \musixtex, and is included mainly for historical completeness. + +\subsection{musixdat} +Enables the command \keyindex{today}, which sets the current date in one of +several possible languages. The language is selected by an optional + preparatory command \verb|\date...|. +The default is \keyindex{dateUSenglish}, but this can changed, either at the +end of \ttxem{musixdat.tex} for a permanant change, or right before issuing +\verb|\today|. Available choices and sample results are summarized below: +\smallskip \begin{quote}\begin{tabular}{ll}\hline \verb|\dateUSenglish|&\dateUSenglish\today\\ \verb|\dateaustrian|&\dateaustrian\today\\ @@ -6117,40 +6978,89 @@ Also available are \keyindex{dategerman}, \keyindex{dateaustrian}, \verb|\datefrench|&\datefrench\today\\ \verb|\dategerman|&\dategerman\today\\\hline \end{tabular}\end{quote} - \subsection{*musixdia}\label{diam} -These file is automatically loaded, if you use {\tt musixper.tex}. -Here is the list of notes it provides: - \begin{itemize} - \item The \raise.5ex\hbox to 1em{\musixchar37} symbol is obtained using the -\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded with a ``\verb|y|'' -(think of ``dyamond''). Available are \keyindex{yqu}, \keyindex{yqup}, + +\subsection{musixdbr} +Enables dashed and dotted bar lines (see \ref{musixdbr}). + +\subsection{musixdia}\label{diam} +Enables notes with diamond-shaped heads as follows: +\begin{itemize}\setlength{\itemsep}{0ex} + \item Solid note heads (\raise.5ex\hbox to .6em{\musixchar37}) are obtained +using the macros + \keyindex{yqu}, \keyindex{yqup}, \keyindex{yqupp}, \keyindex{yql}, \keyindex{yqlp}, \keyindex{yqlpp}, \keyindex{yzq}, \keyindex{yzqp}, \keyindex{yzqpp}, \keyindex{yqb}, \keyindex{ycu}, \keyindex{yccu}, \keyindex{ycccu}, \keyindex{yccccu}, \keyindex{ycl}, \keyindex{yccl}, \keyindex{ycccl}, \keyindex{yccccl}, -\keyindex{ycup}, \keyindex{ycupp}, \keyindex{yclp}, \keyindex{yclpp}. The -symbol without a stem can be obtained by saying \keyindex{ynq} and the -non-spacing variant with \keyindex{zynq}. - \item The \raise.5ex\hbox to 1em{\musixchar38} symbol is obtained using the -\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded with a ``\verb|d|'' -(think of \ital{diamond}). Available are \keyindex{dqu}, \keyindex{dqup}, +\keyindex{ycup}, \keyindex{ycupp}, \keyindex{yclp}, \keyindex{yclpp}. +(Think of d{\it y}\kern.5pt amond). A solid diamond with no stem is obtained +with \keyindex{ynq} (spacing) or \keyindex{yznq} (non-spacing). + \item Open note heads (\raise.5ex\hbox to .6em{\musixchar38}) are obtained +using the macros +\keyindex{dqu}, \keyindex{dqup}, \keyindex{dqupp}, \keyindex{dql}, \keyindex{dqlp}, \keyindex{dqlpp}, \keyindex{dzq}, \keyindex{dzqp}, \keyindex{dzqpp}, \keyindex{dqb}, \keyindex{dcu}, \keyindex{dccu}, \keyindex{dcccu}, \keyindex{dccccu}, \keyindex{dcl}, \keyindex{dccl}, \keyindex{dcccl}, \keyindex{dccccl}, -\keyindex{dcup}, \keyindex{dcupp}, \keyindex{dclp}, \keyindex{dclpp}. The -symbol without a stem can be obtained by saying \keyindex{dnq} and the -non-spacing variant with \keyindex{dznq}. +\keyindex{dcup}, \keyindex{dcupp}, \keyindex{dclp}, \keyindex{dclpp}. +(Think of {\it d}\kern.5pt iamond). +An open diamond with no stem is obtained +with \keyindex{dnq} (spacing) or \keyindex{dznq} (non-spacing). \end{itemize} - %\check - \subsection{*musixeng} - This package is made for music typesetters who are allergic to rest names -taken from French, German or Italian\footnote{By the way, note that a -\ital{whole rest} is called \ital{pause} in French, \ital{ganze Pause} in -German, and \ital{pausa} in Italian.}. It does not provide new features, only -new command names. + +One use of these note heads is for a string part with \itxem{harmonic notes}. +%(see \ref{othernotes}) +% DAS removed description which was misplaced in the samll=notes section 2.18 4/30/06 +For example, + +\begin{music} +\parindent0pt +\generalsignature{-2} +\generalmeter\allabreve +\startextract +\NOTes\dzq o\zh d\hu h\enotes +\Notes\ibu0k0\zq g\yqb0k\qb0j\zq e\yqb0i\tbu0\qb0j\enotes +\bar +\NOTes\dzq g\hu k\enotes +\NOTes\hpause\enotes +\bar +\NOTes\dzq o\zh d\hl h\enotes +\Notes\ibl0e0\zq g\yqb0k\qb0j\zq e\yqb0i\tbl0\qb0j\enotes +\bar +\NOTes\dzq g\hu k\enotes +\NOTes\hpause\enotes +\endextract +\end{music} +\noindent was coded as follows: +\begin{quote}\begin{verbatim} +\generalsignature{-2} +\generalmeter\allabreve +\startextract +\NOTes\dzq o\zh d\hu h\enotes +\Notes\ibu0k0\zq g\yqb0k\qb0j\zq e\yqb0i\tbu0\qb0j\enotes +\bar +\NOTes\dzq g\hu k\enotes +\NOTes\hpause\enotes +\bar +\NOTes\dzq o\zh d\hl h\enotes +\Notes\ibl0e0\zq g\yqb0k\qb0j\zq e\yqb0i\tbl0\qb0j\enotes +\bar +\NOTes\dzq g\hu k\enotes +\NOTes\hpause\enotes +\endextract +\end{verbatim}\end{quote} + +Another use is for percussion parts. In fact the file \verb|musixdia.tex| +is automatically loaded if you input {\tt musixper.tex} (see \ref{perc}). + + \subsection{musixeng} + This package is provided for music typesetters who are allergic to the default +rest names, which are +taken from French, German or Italian. It does not provide new features, only +new command names: +\medskip \begin{quote}\begin{tabular}{ll}\hline -\ital{original}&\ital{alternative}\\\hline +\ital{original}&\ital{alternate}\\\hline \keyindex{PAUSe}&\keyindex{Qwr}\\ \keyindex{PAuse}&\keyindex{Dwr}\\ \keyindex{liftpause}&\keyindex{liftwr}\\ @@ -6165,153 +7075,204 @@ new command names. \keyindex{hs}&\keyindex{eeer}\\ \keyindex{qqs}&\keyindex{eeeer}\\\hline \end{tabular}\end{quote} - \subsection{musixext} -\keyindex{slide}\verb|{|pitch\verb|}{|elements\verb|}{|slope[-8 to 8]\verb|}|~: - glissando. +\subsection{musixext} +Defines the following two specific macros: -\keyindex{raggedstoppiece} : - provides a ragged last line. - %\check +\keyindex{slide}\itbrace{p}\itbrace{x}\itbrace{s}~, which provides a glissando +starting at pitch {\it p} and extending for {\it x} \verb|\internote|s with +slope {\it s} (ranging from -8 to 8). + +\keyindex{raggedstoppiece}~, which inhibits right-justification of the last +line of a score. \subsection{musixf{}l{}l} \input musixfll - \ttxem{musixfll.tex} may be used to modify the automatic -generation of \ixem{ledger lines}. Ledger lines --- German Hilfslinien ---- are generated for notes placed above or below normal staff lines. -Ledger lines normally exceed the note head by a quarter of the width of -the note head. If notes are set very narrowly, the ledger lines of -consecutive notes may meet. In this case a player may misread the -ledger lines as normal lines. Therefore \musixtex{} shortens the -ledger lines if notes are set so narrowly that the ledger lines may -meet. Because \musixtex{} does not know whether consecutive notes need -ledger lines, this automatic shortening may be superfluous. So this -automatism may be switched off and on. After including -\ttxem{musixfll.tex} the automatic shortening of ledger lines is -switched off. Afterwards it may be switched on again using + Enables modification of \ixem{ledger lines}. Ledger lines normally exceed the +width of a note head by 25 percent in each direction. If the space between +notes is insufficient, the ledger lines of +consecutive notes may meet, creating visual ambiguities. Therefore, +\musixtex{} shortens the +ledger lines if notes are set so close together that the ledger lines may +meet. But because \musixtex{} does not know whether consecutive notes need +ledger lines, this automatic shortening may be superfluous. The extension +file \ttxem{musixfll.tex} allows this feature to be switched off and on. +Upon inputting \verb|musixfll.tex|, the automatic shortening of ledger lines +is switched off. From then on, it may be switched on again using \keyindex{autoledgerlines} and switched off again using \keyindex{longledgerlines}. Both macros have global effect. The following example shows that narrowly set scales look better with -\keyindex{autoledgerlines}, while single notes requiring ledger lines -look better with \keyindex{longledgerlines}. - +\keyindex{autoledgerlines} (the default behavior), while single notes +requiring ledger lines look better with \keyindex{longledgerlines}. +\medskip \begin{music} \startextract \notes\multnoteskip{0.7}\Uptext{autoledgerlines}\autoledgerlines - \ibbbu0b0\qb0{cba`gfg'a}\tbu0\qb0b% - \ibbbl0{''b}0\qb0{abcdedc}\tbl0\qb0b% - \ibbbu0{``b}0\qb0{dad}\tbu0\qb0a% - \ibbbl0{''b}0\qb0{`g'c`g}\tbl0\qb0{'c}\en - \bar + \ibbbu0b0\qb0{cba`gfg'a}\tbu0\qb0b% + \ibbbl0{''b}0\qb0{abcdedc}\tbl0\qb0b% + \ibbbu0{``b}0\qb0{dad}\tbu0\qb0a% + \ibbbl0{''b}0\qb0{`g'c`g}\tbl0\qb0{'c}\en + \bar \notes\multnoteskip{0.7}\Uptext{longledgerlines}\longledgerlines - \ibbbu0b0\qb0{cba`gfg'a}\tbu0\qb0b% - \ibbbl0{''b}0\qb0{abcdedc}\tbl0\qb0b% - \ibbbu0{``b}0\qb0{dad}\tbu0\qb0a% - \ibbbl0{''b}0\qb0{`g'c`g}\tbl0\qb0{'c}\en + \ibbbu0b0\qb0{cba`gfg'a}\tbu0\qb0b% + \ibbbl0{''b}0\qb0{abcdedc}\tbl0\qb0b% + \ibbbu0{``b}0\qb0{dad}\tbu0\qb0a% + \ibbbl0{''b}0\qb0{`g'c`g}\tbl0\qb0{'c}\en \endextract \autoledgerlines \end{music} - \subsection{*musixgre}\label{gregnotes} + \subsection{musixgre}\label{gregnotes}\index{gregorian chant} + +% \subsection{Gregorian chant: staffs and clefs} +Gregorian chant is often coded using four line staffs +(see +%sections \ref{gregorian} and +section \ref{stafflinenumber}) and using special notes called +\itxem{neumes} (which are described later in this section). It also requires +special clefs. One way to substitute them for the modern ones is for example +with commands like + +\keyindex{setaltoclefsymbol}\verb|3\gregorianCclef| + +\noindent or +\keyindex{setbassclefsymbol}\verb|3\gregorianFclef| , - Provided that four line staffs (see \ref{stafflinenumber}) are used, -\itxem{gregorian music} is frequently quoted using specific \itxem{neumes}, -established in the thirteenth century, and this way of coding has been -commonly used for the coding of liturgical chant in the Catholic Church until -the middle of the twentieth century. Nevertheless, gregorian chant coding is -not really an antique feature, since it has been codified in 1905 with recent -quasi-official updates in the eightties. +\noindent which will cause instrument number 3 to display the selected gregorian +clef. The standard clefs can be restored for every instrument with +\keyindex{resetclefsymbols}. Note that when using this method you must +specify whether to substitute for the bass or alto clef +symbol (there is no treble clef in gregorian +chant). The reason is that \musixtex\ selects and +raises the F and C clefs differently, according to the arguments of the +\keyindex{setclef} command. Therefore, if one had substituted any F clef +symbol while saying \verb|\setclef1{1000}|, then an F clef would duly appear +on the staff, but it would be set at the position of an alto clef, thus +seriously misleading the musician. +Another method of clef substitution employs \keyindex{setclefsymbol} (see +section \ref{treblelowoct}), which substitutes the clef given by +the second argument \ital{for all clef symbols} of the instrument given by the first, +regardless of the actual musical meaning of the new clef symbol. This method is +generally appropriate only if you want to change the clef symbol(s) of +an instrument for the whole of the score. -{\noindent\sl REMARK:\label{gregoriancappella} strictly writing, including -gregorian chant coding in \musixtex{} is a pure nonsense. Of course, many -people find it interesting to have the possibility of coding gregorian neumes -together with modern music, but having a score with both a gregorian chant and -a choir or instruments is definitely \ital{heretic}. The reason is that -grogorian chant must be sung \ital{a cappella}, without instrument and without -underlying polyphony. As a matter of fact, serious music schools ceased to -teach how to accompany gregorian chant approximately 20 years ago. + As an example, the same gregorian scale has been written with a gregorian C +clef on all four lines of the staff: - However, there are still some pseudo-gregorian chants in the Catholic -repertoire which deserve organ or orchestra accompaniment: these are latine -speaking gregorian imitations composed in the eighteenth century, such as the -famous \ital{Angel's mass} of the \ital{Messe royale de Du Mont} which were -printed using gregorian neumes by official catholic publishers instead of -using the music denotations fit for renaissance and baroque pieces...} + \begin{music}\nostartrule + \parindent 19mm + \instrumentnumber{4} + \setname1{1st line} \setname2{2nd line} \setname3{3rd line} \setname4{4th line} + \setlines1{4}\setlines2{4}\setlines3{4}\setlines4{4} + \sepbarrules + \generalmeter{\empty} + \setclef1{1000} \setclef2{2000} \setclef3{3000} \setclef4{4000} + \setaltoclefsymbol1\gregorianCclef + \setaltoclefsymbol2\gregorianCclef + \setaltoclefsymbol3\gregorianCclef + \setaltoclefsymbol4\gregorianCclef +\startextract +\Notes\squ{abcdefghi}&\squ{abcdefghi}&\squ{abcdefghi}&\squ{abcdefghi}&\enotes +\zendextract +\end{music} + The coding was: + \begin{verbatim} + \instrumentnumber{4} + \setname1{1st line} \setname2{2nd line} \setname3{3rd line} \setname4{4th line} + \setlines1{4}\setlines2{4}\setlines3{4}\setlines4{4} + \sepbarrules + \generalmeter{\empty} + \setclef1{1000} \setclef2{2000} \setclef3{3000} \setclef4{4000} + \setaltoclefsymbol1\gregorianCclef + \setaltoclefsymbol2\gregorianCclef + \setaltoclefsymbol3\gregorianCclef + \setaltoclefsymbol4\gregorianCclef +\startextract +\Notes\squ{abcdefghi}&\squ{abcdefghi}&\squ{abcdefghi}&\squ{abcdefghi}&\enotes +\zendextract + \end{verbatim} - Symbols available in \musixtex\ are -mainly those of the 1905 standard, as provided by Beda {\sc -Szukics}\index{Szukics, B.@{\sc Szukics, B.}}: +All of the special gregorian symbols available in \musixtex\ are described +in the following subsections. -\subsubsection{The clefs} +\subsubsection{Clefs} -\begin{itemize} - \item The gregorian C clef: \raise 2.5pt\hbox to 1cm{\gregorianCclef\hfil}~= +\begin{itemize}\setlength{\itemsep}{0ex} + \item Gregorian C clef: \raise 2.5pt\hbox to 1cm{\gregorianCclef\hfil}~= \keyindex{gregorianCclef}, normally activated for instrument $n$ with the -command: - \begin{quote} - \keyindex{setaltoclefsymbol} $n$ \keyindex{gregorianCclef} - \end{quote} - \item The gregorian F clef: \raise 2.5pt\hbox to 1cm{\gregorianFclef\hfil}~= -\keyindex{gregorianFclef}, normally activated with the -\verb|\setbassclefsymbol| command. +command + \keyindex{setaltoclefsymbol}\itbrace{n}\keyindex{gregorianCclef} +\item Gregorian F clef: \raise 2.5pt\hbox to 1cm{\gregorianFclef\hfil}~= +\keyindex{gregorianFclef}, normally activated with the command +\keyindex{setbassclefsymbol}\itbrace{n}\keyindex{gregorianFclef} \end{itemize} - \subsubsection{The basic elementary symbols} - \begin{itemize} + \subsubsection{Elementary symbols} + - \item Diamond shaped \itxem{punctum} (of different shape compared to the + \begin{itemize}\setlength{\itemsep}{0ex} + + \item Diamond shaped \itxem{punctum} (This has a different shape compared to the percussion diamond): \raise 2.5pt\hbox{\xgregchar1}~ = -\keyindex{diapunc}~$p$~. +\keyindex{diapunc}\pitchp\ . \item Square \itxem{punctum}: \raise 2.5pt\hbox{\xgregchar5}~ = -\keyindex{squ}~$p$ or \keyindex{punctum}~$p$~. +\keyindex{squ}\pitchp\ or \keyindex{punctum}\pitchp\ . \item Left stemmed \itxem{virga} (not in the 1905 gregorian standard): \raise -2.5pt\hbox{\xgregchar6}~ = \keyindex{lsqu}~$p$~. +2.5pt\hbox{\xgregchar6}~ = \keyindex{lsqu}\pitchp\ . \item Right stemmed \itxem{virga}: \raise 2.5pt\hbox{\xgregchar7}~ = -\keyindex{rsqu}~$p$ or \keyindex{virga}~$p$~. +\keyindex{rsqu}\pitchp\ or \keyindex{virga}\pitchp\ . \item \ital{Apostropha}\index{apostropha}: \raise 2.5pt\hbox{\xgregchar3}~ = -\keyindex{apostropha}~$p$~. +\keyindex{apostropha}\pitchp\ . \item \ital{Oriscus}\index{oriscus}: \raise 2.5pt\hbox{\xgregchar10}~ = -\keyindex{oriscus}~$p$~. +\keyindex{oriscus}\pitchp\ . \item \ital{Quilisma}\index{quilisma}: \raise 2.5pt\hbox{\xgregchar125}~ = -\keyindex{quilisma}~$p$~. - \item \ital{Punctum auctum} (up)\index{punctum auctum}: \raise 2.5pt\hbox{\xgregchar9}~ = -\keyindex{punctumauctup}~$p$~. - \item \ital{Punctum auctum} (down)\index{punctum auctum}: \raise 2.5pt\hbox{\xgregchar8}~ = -\keyindex{punctumauctdown}~$p$~. +\keyindex{quilisma}\pitchp\ . + \item \ital{Punctum auctum} (up)\index{punctum auctum}: \raise +2.5pt\hbox{\xgregchar9}~ = +\keyindex{punctumauctup}\pitchp\ . + \item \ital{Punctum auctum} (down)\index{punctum auctum}: \raise +2.5pt\hbox{\xgregchar8}~ = +\keyindex{punctumauctdown}\pitchp\ . \item Diamond shaped \ital{punctum auctum} (down)\index{punctum auctum}: -\raise 2.5pt\hbox{\xgregchar2}~ = \keyindex{diapunctumauctdown}~$p$~. +\raise 2.5pt\hbox{\xgregchar2}~ = \keyindex{diapunctumauctdown}\pitchp\ . \item \ital{Punctum deminutum}\index{punctum deminutum}: \raise -2.5pt\hbox{\xgregchar4}~ = \keyindex{punctumdeminutum}~$p$~. +2.5pt\hbox{\xgregchar4}~ = \keyindex{punctumdeminutum}\pitchp\ . \item \ital{Apostropha aucta}\index{apostropha aucta}: \raise -2.5pt\hbox{\xgregchar11}~ = \keyindex{apostropha aucta}~$p$~. - +2.5pt\hbox{\xgregchar11}~ = \keyindex{apostropha aucta}\pitchp\ . \end{itemize} - All non-\ital{liquescens} symbols have a non-spacing variant, which are + All non-\ital{liquescens} symbols have non-spacing variants, namely \keyindex{zdiapunc}, \keyindex{zsqu}, \keyindex{zlsqu}, \keyindex{zrsqu}, \keyindex{zapostropha} and \keyindex{zoriscus}. -\subsubsection{The plain complex neumes} +\subsubsection{Plain complex neumes} Other \itxem{neumes} can be obtained by combining two or more of these symbols. Since \itxem{neumes} have a special note head width, an additional shifting macro is provided, namely \keyindex{groff}. It is similar to -\verb|\roff|, but the offset is smaller; to implement also triple symbol neumes, -another shifting macro is provided, namely \keyindex{dgroff} which performs an -offset twice the offset of \verb|\groff|.. +\verb|\roff|, but the offset is smaller. For use with comples neumes, another +shifting macro is provided, namely \keyindex{dgroff}, which causes an +offset twice the offset of \verb|\groff|. Since most of these symbols depend on relative pitches of their components, -one could not provide all compact combinations as single symbols. Following -compound symbols are: +we cannot provide all possible compact combinations as single symbols. The ones +that are available in \verb|musixgre| are described below. In the following, +$p_1$, $p_2$, $p_3$, and $p_4$ represent pitches specified as usual. Please refer to +the source file \verb|musixtex.tex| if you wish to see the coding of those +examples for which it is not quoted here. -\begin{description} - \item[\keyindex{bivirga} $n$ $p$], for example: +\def\twop{\itbrace{p_1}\itbrace{p_2}} +\def\threep{\twop\itbrace{p_3}} +\def\fourp{\threep\itbrace{p_4}} - \begin{music} +\begin{description}\setlength{\itemsep}{0ex} + \item[\keyindex{bivirga}\twop], for example: + + \begin{music}\nostartrule \elemskip 10pt \setsize1{\Largevalue} \instrumentnumber 1 @@ -6322,8 +7283,9 @@ compound symbols are: \startextract \notes \bivirga ab\enotes \notes \bivirga cc\enotes - \endextract + \zendextract \end{music} + This example was coded as: \begin{quote}\begin{verbatim} \instrumentnumber 1 @@ -6334,12 +7296,12 @@ compound symbols are: \startextract \notes \bivirga ab\enotes \notes \bivirga cc\enotes - \endextract + \zendextract \end{verbatim}\end{quote} - \item[\keyindex{trivirga} $n$ $p$ $q$], for example: + \item[\keyindex{trivirga}\threep], for example: - \begin{music} + \begin{music}\nostartrule \elemskip 10pt \setsize1{\Largevalue} \instrumentnumber 1 @@ -6350,12 +7312,12 @@ compound symbols are: \startextract \Notes \trivirga abc\enotes \Notes \trivirga cca\enotes - \endextract + \zendextract \end{music} - \item[\keyindex{bistropha} $n$ $p$], for example: + \item[\keyindex{bistropha}\twop], for example: - \begin{music} + \begin{music}\nostartrule \elemskip 10pt \setsize1{\Largevalue} \instrumentnumber 1 @@ -6366,12 +7328,12 @@ compound symbols are: \startextract \notes \bistropha ab\enotes \notes \bistropha cc\enotes - \endextract + \zendextract \end{music} - \item[\keyindex{tristropha} $n$ $p$ $q$], for example: + \item[\keyindex{tristropha}\threep], for example: - \begin{music} + \begin{music}\nostartrule \elemskip 10pt \setsize1{\Largevalue} \instrumentnumber 1 @@ -6382,12 +7344,12 @@ compound symbols are: \startextract \Notes \tristropha abc\enotes \Notes \tristropha cca\enotes - \endextract + \zendextract \end{music} - \item[\keyindex{clivis} $n$ $p$], for example: + \item[\keyindex{clivis}\twop], for example: - \begin{music} + \begin{music}\nostartrule \elemskip 10pt \setsize1{\Largevalue} \instrumentnumber 1 @@ -6398,12 +7360,13 @@ compound symbols are: \startextract \notes \clivis ba\enotes \notes \clivis ca\enotes - \endextract + \zendextract \end{music} - \item[\keyindex{lclivis} $n$ $p$], for example: + \item[\keyindex{lclivis}\twop], for example: - \begin{music} + \begin{music}\nostartrule + \setsize1{\Largevalue} \elemskip 10pt \instrumentnumber 1 \setstaffs 1 1 @@ -6413,12 +7376,12 @@ compound symbols are: \startextract \notes \lclivis ba\enotes \notes \lclivis ca\enotes - \endextract + \zendextract \end{music} - \item[\keyindex{podatus} $n$ $p$], for example: + \item[\keyindex{podatus}\twop], for example: - \begin{music} + \begin{music}\nostartrule \elemskip 10pt \instrumentnumber 1 \setsize1{\Largevalue} @@ -6430,12 +7393,12 @@ compound symbols are: \notes \podatus ab\enotes \notes \podatus ac\enotes \notes \podatus cf\enotes - \endextract + \zendextract \end{music} - \item[\keyindex{podatusinitiodebilis} $n$ $p$], for example: + \item[\keyindex{podatusinitiodebilis}\twop], for example: - \begin{music} + \begin{music}\nostartrule \elemskip 10pt \instrumentnumber 1 \setsize1{\Largevalue} @@ -6447,14 +7410,15 @@ compound symbols are: \notes \podatusinitiodebilis ab\enotes \notes \podatusinitiodebilis ac\enotes \notes \podatusinitiodebilis cf\enotes - \endextract + \zendextract \end{music} - \item[\keyindex{lpodatus} $n$ $p$], for example: + \item[\keyindex{lpodatus}\twop], for example: - \begin{music} + \begin{music}\nostartrule \elemskip 10pt - \instrumentnumber 1 + \setsize1{\Largevalue} + \instrumentnumber 1 \setstaffs 1 1 \setlines 1 4 \setclef 1{3000} @@ -6462,12 +7426,12 @@ compound symbols are: \startextract \notes \lpodatus ab\enotes \notes \lpodatus ce\enotes - \endextract + \zendextract \end{music} - \item[\keyindex{pesquassus} $n$ $p$], for example: - - \begin{music} + \item[\keyindex{pesquassus}\twop], for example: + + \begin{music}\nostartrule \elemskip 10pt \instrumentnumber 1 \setsize1{\Largevalue} @@ -6478,12 +7442,12 @@ compound symbols are: \startextract \notes \pesquassus ab\enotes \notes \pesquassus ae\enotes - \endextract + \zendextract \end{music} - \item[\keyindex{quilismapes} $n$ $p$], for example: - - \begin{music} + \item[\keyindex{quilismapes}\twop], for example: + + \begin{music}\nostartrule \elemskip 10pt \instrumentnumber 1 \setsize1{\Largevalue} @@ -6494,12 +7458,12 @@ compound symbols are: \startextract \notes \quilismapes ab\enotes \notes \quilismapes ae\enotes - \endextract + \zendextract \end{music} - \item[\keyindex{torculus} $n$ $p$ $q$], for example: + \item[\keyindex{torculus}\threep], for example: - \begin{music} + \begin{music}\nostartrule \elemskip 10pt \instrumentnumber 1 \setsize1{\Largevalue} @@ -6511,12 +7475,12 @@ compound symbols are: \notes \torculus aba\enotes \notes \torculus cfd\enotes \notes \torculus afc\enotes - \endextract + \zendextract \end{music} - \item[\keyindex{torculusinitiodebilis} $n$ $p$ $q$], for example: + \item[\keyindex{torculusinitiodebilis}\threep], for example: - \begin{music} + \begin{music}\nostartrule \elemskip 10pt \instrumentnumber 1 \setsize1{\Largevalue} @@ -6528,12 +7492,12 @@ compound symbols are: \notes \torculusinitiodebilis aba\enotes \notes \torculusinitiodebilis cfd\enotes \notes \torculusinitiodebilis afc\enotes - \endextract + \zendextract \end{music} - \item[\keyindex{Porrectus} $n$ $p$ $q$], for example: + \item[\keyindex{Porrectus}\threep], for example: - \begin{music} + \begin{music}\nostartrule \elemskip 10pt \instrumentnumber 1 \setsize1{\Largevalue} @@ -6547,7 +7511,7 @@ compound symbols are: \notes \Porrectus bNd\enotes \notes \Porrectus bMe\enotes \notes \Porrectus bLe\enotes - \endextract + \zendextract \end{music} \noindent coded: \begin{quote}\begin{verbatim} @@ -6560,14 +7524,14 @@ compound symbols are: \verb|\Porrectus| exists in four different shapes, depending on the difference between first and second argument. The constraint is that - $$ n-4 \leq p \leq n-1 $$ otherwise a diagnostic occurs. Note also that + $$ p_1-4 \leq p_2 \leq p_1-1 $$ otherwise a diagnostic occurs. Note also that \keyindex{bporrectus} provides the first curved part of the \verb|porrectus| -command, if you need it... It has two arguments, the starting pitch, the lower +command, if you should need it. It has two arguments, the starting pitch and the lower pitch. - \item[\keyindex{Porrectusflexus} $n$ $p$ $q$ $r$], for example: + \item[\keyindex{Porrectusflexus}\fourp], for example: - \begin{music} + \begin{music}\nostartrule \elemskip 10pt \instrumentnumber 1 \setsize1{\Largevalue} @@ -6580,7 +7544,7 @@ pitch. \notes \Porrectusflexus bNdb\enotes \notes \Porrectusflexus bMeb\enotes \notes \Porrectusflexus bLea\enotes - \endextract + \zendextract \end{music} \noindent coded: \begin{quote}\begin{verbatim} @@ -6590,10 +7554,10 @@ pitch. \notes \Porrectusflexus bLea\enotes \end{verbatim}\end{quote} - - \item[\keyindex{climacus} $n$ $p$ $q$], for example: - \begin{music} + \item[\keyindex{climacus}\threep], for example: + + \begin{music}\nostartrule \elemskip 10pt \instrumentnumber 1 \setsize1{\Largevalue} @@ -6605,12 +7569,12 @@ pitch. \Notes \climacus cbN\enotes \Notes \climacus cba\enotes \Notes \climacus dbN\enotes - \endextract + \zendextract \end{music} - \item[\keyindex{climacusresupinus} $n$ $p$ $q$ $r$], for example: + \item[\keyindex{climacusresupinus}\fourp], for example: - \begin{music} + \begin{music}\nostartrule \elemskip 10pt \instrumentnumber 1 \setsize1{\Largevalue} @@ -6622,14 +7586,15 @@ pitch. \Notes \climacusresupinus cbNa\enotes \Notes \climacusresupinus cbab\enotes \Notes \climacusresupinus dbNb\enotes - \endextract + \zendextract \end{music} - \item[\keyindex{lclimacus} $n$ $p$ $q$], for example: + \item[\keyindex{lclimacus}\threep], for example: - \begin{music} + \begin{music}\nostartrule \elemskip 10pt - \instrumentnumber 1 + \setsize1{\Largevalue} +\instrumentnumber 1 \setstaffs 1 1 \setlines 1 4 \setclef 1{3000} @@ -6638,13 +7603,12 @@ pitch. \notes \lclimacus cbN\enotes \notes \lclimacus cfd\enotes \notes \lclimacus afc\enotes - \endextract + \zendextract \end{music} + \item[\keyindex{scandicus}\threep], for example: - \item[\keyindex{scandicus} $n$ $p$ $q$], for example: - - \begin{music} + \begin{music}\nostartrule \elemskip 10pt \instrumentnumber 1 \setsize1{\Largevalue} @@ -6655,12 +7619,12 @@ pitch. \startextract \notes \scandicus abe\enotes \notes \scandicus ceg\enotes - \endextract + \zendextract \end{music} - \item[\keyindex{salicus} $n$ $p$ $q$], for example: + \item[\keyindex{salicus}\threep], for example: - \begin{music} + \begin{music}\nostartrule \elemskip 10pt \instrumentnumber 1 \setsize1{\Largevalue} @@ -6671,12 +7635,12 @@ pitch. \startextract \Notes \salicus abe\enotes \Notes \salicus ceg\enotes - \endextract + \zendextract \end{music} - \item[\keyindex{salicusflexus} $n$ $p$ $q$ $r$], for example: + \item[\keyindex{salicusflexus}\fourp], for example: - \begin{music} + \begin{music}\nostartrule \elemskip 10pt \instrumentnumber 1 \setsize1{\Largevalue} @@ -6687,14 +7651,16 @@ pitch. \startextract \Notes \salicusflexus abec\enotes \Notes \salicusflexus cegd\enotes - \endextract + \zendextract \end{music} - \item[\keyindex{trigonus} $n$ $p$ $q$], for example\footnote{The second -example is in principle irrelevant, but it shows the possibilities, in case -of.}: + \item[\keyindex{trigonus}\threep], +%DAS ???????????? +%for example\footnote{The second example is in principle irrelevant, +%but it shows the possibilities, in case of.}: +for example: - \begin{music} + \begin{music}\nostartrule \elemskip 10pt \instrumentnumber 1 \setsize1{\Largevalue} @@ -6705,16 +7671,16 @@ of.}: \startextract \Notes \trigonus aaN\enotes \Notes \trigonus cef\enotes - \endextract + \zendextract \end{music} \end{description} -\subsubsection{The liquescens complex neumes}\index{liquescens neumes} -\begin{description} - \item[\keyindex{clivisauctup} $n$ $p$], for example: +\subsubsection{Liquescens complex neumes}\index{liquescens neumes} +\begin{description}\setlength{\itemsep}{0ex} + \item[\keyindex{clivisauctup}\twop], for example: - \begin{music} + \begin{music}\nostartrule \elemskip 10pt \setsize1{\Largevalue} \instrumentnumber 1 @@ -6725,11 +7691,11 @@ of.}: \startextract \notes \clivisauctup ba\enotes \notes \clivisauctup ca\enotes - \endextract + \zendextract \end{music} - \item[\keyindex{clivisauctdown} $n$ $p$], for example: + \item[\keyindex{clivisauctdown}\twop], for example: - \begin{music} + \begin{music}\nostartrule \elemskip 10pt \setsize1{\Largevalue} \instrumentnumber 1 @@ -6740,11 +7706,11 @@ of.}: \startextract \notes \clivisauctdown ba\enotes \notes \clivisauctdown ca\enotes - \endextract + \zendextract \end{music} - \item[\keyindex{podatusauctup} $n$ $p$], for example: + \item[\keyindex{podatusauctup}\twop], for example: - \begin{music} + \begin{music}\nostartrule \elemskip 10pt \instrumentnumber 1 \setsize1{\Largevalue} @@ -6756,11 +7722,11 @@ of.}: \notes \podatusauctup ab\enotes \notes \podatusauctup ac\enotes \notes \podatusauctup cf\enotes - \endextract + \zendextract \end{music} - \item[\keyindex{podatusauctdown} $n$ $p$], for example: + \item[\keyindex{podatusauctdown}\twop], for example: - \begin{music} + \begin{music}\nostartrule \elemskip 10pt \instrumentnumber 1 \setsize1{\Largevalue} @@ -6772,12 +7738,12 @@ of.}: \notes \podatusauctdown ab\enotes \notes \podatusauctdown ac\enotes \notes \podatusauctdown cf\enotes - \endextract + \zendextract \end{music} - \item[\keyindex{pesquassusauctdown} $n$ $p$], for example: - - \begin{music} + \item[\keyindex{pesquassusauctdown}\twop], for example: + + \begin{music}\nostartrule \elemskip 10pt \instrumentnumber 1 \setsize1{\Largevalue} @@ -6788,12 +7754,12 @@ of.}: \startextract \notes \pesquassusauctdown ab\enotes \notes \pesquassusauctdown ae\enotes - \endextract + \zendextract \end{music} - \item[\keyindex{quilismapesauctdown} $n$ $p$], for example: - - \begin{music} + \item[\keyindex{quilismapesauctdown}\twop], for example: + + \begin{music}\nostartrule \elemskip 10pt \instrumentnumber 1 \setsize1{\Largevalue} @@ -6804,12 +7770,12 @@ of.}: \startextract \notes \quilismapesauctdown ab\enotes \notes \quilismapesauctdown ae\enotes - \endextract + \zendextract \end{music} - - \item[\keyindex{torculusauctdown} $n$ $p$ $q$], for example: - \begin{music} + \item[\keyindex{torculusauctdown}\threep], for example: + + \begin{music}\nostartrule \elemskip 10pt \instrumentnumber 1 \setsize1{\Largevalue} @@ -6821,12 +7787,12 @@ of.}: \notes \torculusauctdown aba\enotes \notes \torculusauctdown cfd\enotes \notes \torculusauctdown afc\enotes - \endextract + \zendextract \end{music} - \item[\keyindex{Porrectusauctdown} $n$ $p$ $q$], for example: + \item[\keyindex{Porrectusauctdown}\threep], for example: - \begin{music} + \begin{music}\nostartrule \elemskip 10pt \instrumentnumber 1 \setsize1{\Largevalue} @@ -6839,12 +7805,12 @@ of.}: \notes \Porrectusauctdown bNd\enotes \notes \Porrectusauctdown bMe\enotes \notes \Porrectusauctdown bLe\enotes - \endextract + \zendextract \end{music} - \item[\keyindex{climacusauctdown} $n$ $p$ $q$], for example: + \item[\keyindex{climacusauctdown}\threep], for example: - \begin{music} + \begin{music}\nostartrule \elemskip 10pt \instrumentnumber 1 \setsize1{\Largevalue} @@ -6856,12 +7822,12 @@ of.}: \Notes \climacusauctdown cbN\enotes \Notes \climacusauctdown caM\enotes \Notes \climacusauctdown aNM\enotes - \endextract + \zendextract \end{music} - \item[\keyindex{scandicusauctdown} $n$ $p$ $q$], for example: + \item[\keyindex{scandicusauctdown}\threep], for example: - \begin{music} + \begin{music}\nostartrule \elemskip 10pt \instrumentnumber 1 \setsize1{\Largevalue} @@ -6872,12 +7838,12 @@ of.}: \startextract \notes \scandicusauctdown abe\enotes \notes \scandicusauctdown ceg\enotes - \endextract + \zendextract \end{music} - \item[\keyindex{salicusauctdown} $n$ $p$ $q$], for example: + \item[\keyindex{salicusauctdown}\threep], for example: - \begin{music} + \begin{music}\nostartrule \elemskip 10pt \instrumentnumber 1 \setsize1{\Largevalue} @@ -6888,12 +7854,12 @@ of.}: \startextract \Notes \salicusauctdown abe\enotes \Notes \salicusauctdown ceg\enotes - \endextract + \zendextract \end{music} - \item[\keyindex{clivisdeminut} $n$ $p$], for example: + \item[\keyindex{clivisdeminut}\twop], for example: - \begin{music} + \begin{music}\nostartrule \elemskip 10pt \setsize1{\Largevalue} \instrumentnumber 1 @@ -6904,12 +7870,12 @@ of.}: \startextract \notes \clivisdeminut ba\enotes \notes \clivisdeminut ca\enotes - \endextract + \zendextract \end{music} - \item[\keyindex{podatusdeminut} $n$ $p$], for example: + \item[\keyindex{podatusdeminut}\twop], for example: - \begin{music} + \begin{music}\nostartrule \elemskip 10pt \instrumentnumber 1 \setsize1{\Largevalue} @@ -6921,12 +7887,12 @@ of.}: \notes \podatusdeminut ab\enotes \notes \podatusdeminut ac\enotes \notes \podatusdeminut cf\enotes - \endextract + \zendextract \end{music} - \item[\keyindex{torculusdeminut} $n$ $p$ $q$], for example: + \item[\keyindex{torculusdeminut}\threep], for example: - \begin{music} + \begin{music}\nostartrule \elemskip 10pt \instrumentnumber 1 \setsize1{\Largevalue} @@ -6938,12 +7904,12 @@ of.}: \notes \torculusdeminut aba\enotes \notes \torculusdeminut cfd\enotes \notes \torculusdeminut afc\enotes - \endextract + \zendextract \end{music} - \item[\keyindex{torculusdebilis} $n$ $p$ $q$], for example: + \item[\keyindex{torculusdebilis}\threep], for example: - \begin{music} + \begin{music}\nostartrule \elemskip 10pt \instrumentnumber 1 \setsize1{\Largevalue} @@ -6955,12 +7921,12 @@ of.}: \notes \torculusdebilis aba\enotes \notes \torculusdebilis cfd\enotes \notes \torculusdebilis afc\enotes - \endextract + \zendextract \end{music} - \item[\keyindex{Porrectusdeminut} $n$ $p$ $q$], for example: + \item[\keyindex{Porrectusdeminut}\threep], for example: - \begin{music} + \begin{music}\nostartrule \elemskip 10pt \instrumentnumber 1 \setsize1{\Largevalue} @@ -6973,12 +7939,12 @@ of.}: \notes \Porrectusdeminut bNd\enotes \notes \Porrectusdeminut bMe\enotes \notes \Porrectusdeminut bLe\enotes - \endextract + \zendextract \end{music} - \item[\keyindex{climacusdeminut} $n$ $p$ $q$], for example: + \item[\keyindex{climacusdeminut}\threep], for example: - \begin{music} + \begin{music}\nostartrule \elemskip 10pt \instrumentnumber 1 \setsize1{\Largevalue} @@ -6990,12 +7956,12 @@ of.}: \Notes \climacusdeminut cbN\enotes \Notes \climacusdeminut caM\enotes \Notes \climacusdeminut aML\enotes - \endextract + \zendextract \end{music} - \item[\keyindex{scandicusdeminut} $n$ $p$ $q$], for example: + \item[\keyindex{scandicusdeminut}\threep], for example: - \begin{music} + \begin{music}\nostartrule \elemskip 10pt \instrumentnumber 1 \setsize1{\Largevalue} @@ -7006,14 +7972,12 @@ of.}: \startextract \notes \scandicusdeminut abe\enotes \notes \scandicusdeminut ceg\enotes - \endextract + \zendextract \end{music} \end{description} - %\check - \subsection{musixgui} \ttxem{musixgui.tex} provides some macros for -typesetting \itxem{guitar tablatures}. Most times they are used above modern -music. To give an example: +\subsection{musixgui}\ixtt{musixgui.tex} Provides macros for +typesetting modern style \itxem{guitar tablatures}. For example: \begin{music} \hsize130mm @@ -7073,33 +8037,33 @@ music. To give an example: \end{music} \medskip -\keyindex{guitar} sets the grid, the chord name, the relative barre and play -indicators. As example the first chord in upper example was coded as: +The macro \keyindex{guitar} sets the grid, chord name, barre type, +and on-off indicators for the strings. For example, the first +chord in above example was coded as \verb|\guitar G{}o-----\gbarre3\gdot25\gdot35\gdot44| -where the first argument is put above the grid to indicate the chord name, the -second is empty (relative barre) and the other six indicates if the string -is played with either \verb|x|, \verb|o| or \verb|-|. The dots are set with +\noindent where the first argument is the text to be placed above the grid, the +second is empty (relative barre), and the next six characters indicate if the string +is played or not with either \verb|x|, \verb|o| or \verb|-|. The dots are set with \keyindex{gdot}~$sb$ where the $s$ is the string and $b$ is the barre. The -rule is set with \keyindex{gbarre}~$b$ where $b$ indicates the barre. +rule is set with \keyindex{gbarre}~$b$ where $b$ indicates the position of the barre. -The whole chord may be vertically shifted with -\keyindex{raiseguitar}\verb|{|$n$\verb|}|, where $n$ is a number -in units of \keyindex{internote}. It might be useful to reserve additional +The whole symbol may be vertically shifted with +\keyindex{raiseguitar}\onen, where $n$ is a number +in units of \keyindex{internote}. When using guitar tablatures, it might be +useful to reserve additional space above the chord by advancing \keyindex{stafftopmarg} to something like \verb|stafftopmarg=10\Interligne|. -If you need the chords more often, it might be useful to define your own -macros, e.g.~saying: +For frequently used chords, it might be useful to define your own +macros, e.g. \verb|\def\Dmajor{\guitar D{}x-----\gdot42\gdot53\gdot62}%| - \subsection{*musixlit}\label{litu}\label{otherbars} - Provides a way of coding intermediate between gregorian and baroque/romantic, -still used\footnote{Was written by A. {\sc Egler}. To my knowledge (D. T.), -liturgical works are either written with modern music quotation, or using the -gregorian \itxem{neumes} which have been normalized in 1905.} for liturgical -works! + + \subsection{musixlit}\label{litu}\label{otherbars} + Provides a notation style intermediate between gregorian and baroque, for +example \makeatletter \catcodesmusic @@ -7177,7 +8141,7 @@ works! \end{music} This package provides: - \begin{itemize} + \begin{itemize}\setlength{\itemsep}{0ex} \item\keyindex{oldGclef} which replaces the ordinary G clef with an old one, using (for instrument 2 as an example): \verb|\settrebleclefsymbol2\oldGclef| @@ -7194,7 +8158,8 @@ pitch $p$. \item\keyindex{chl} $p$ provides a square headed half note with stem down at pitch $p$. - \item\keyindex{cnqu} $p$ and \keyindex{cnql} $p$ provide a stemless square headed + \item\keyindex{cnqu} $p$ and \keyindex{cnql} $p$ provide a stemless square +headed quarter note at pitch $p$. \item\keyindex{cnhu} $p$ and \keyindex{cnhl} $p$ provide a stemless square @@ -7217,24 +8182,25 @@ the staff vertical width. staffs, rather that over them. This is an arbitrary question of taste... \end{itemize} + \subsection{musixlyr} \ixtt{musixlyr.tex} + Enables the recommended method for adding lyrics to a score (see \ref{musixlyr}). + \subsection{musixmad} \ixtt{musixmad.tex} Increases the number of +instruments, slurs and beams up to twelve. When using this extension, it is +not necessary to explicitly input \verb|musixadd.tex|. - \subsection{musixmad} \ttxem{musixmad.tex} increases the number of -instruments, slurs and beams up to twelve. - \subsection{musixper}\label{perc} - Provides specific percussion symbols, especially \keyindex{drumclef} -(used in section \ref{sectiondrum}). These definitions cause problems -since drum and percussion notation is not standardized. -So it might be clever to specifiy the names of instruments for each -used symbol. +\subsection{musixper}\label{perc} +Provides special symbols intended for percussion parts. Included are a +\ital{drum clef}---comprising two vertical parallel lines---and notes with +various specially shaped heads. The note symbols that are available are as +follows: - %\check - \begin{itemize} + \begin{itemize}\setlength{\itemsep}{0ex} \item The \raise.5ex\hbox{\musixchar113}~{}~symbol which is obtained using the \verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded with a -``\verb|dc|'' (think of \ital{DiagonalCross} for e.g. closed \itxem{hihat}). +``\verb|dc|'' (think of {\it d}iagonal {\it c}ross). Available are \keyindex{dcqu}, \keyindex{dcql}, @@ -7248,7 +8214,7 @@ Available are \item The \raise.5ex\hbox{\musixchar112}~{}~symbol which is obtained using the \verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded with a ``\verb|dh|'' -(think of \ital{DiagonalcrossHalfcircle} for e.g. half open \itxem{hihat}). +(think of {\it d}iagonal cross {\it h}alf open). Available are \keyindex{dhqu}, \keyindex{dhql}, @@ -7262,7 +8228,7 @@ Available are \item The \raise.5ex\hbox{\musixchar111}~{}~symbol which is obtained using the \verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded with a ``\verb|do|'' -(think of \ital{DiagonalCross and O for circle} for open \itxem{hihat}). +(think of {\it d}iagonal cross {\it o}pen). Available are \keyindex{doqu}, \keyindex{doql}, @@ -7274,8 +8240,8 @@ Available are \keyindex{doccl}. \item The \raise.5ex\hbox{\musixchar114}~{}~symbol which is obtained using the -\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded with a -``\verb|x|'' (e.g. for spoken text of songs). +\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded by +``\verb|x|'' (e.g.\ for spoken text of songs). Available are \keyindex{xqu}, \keyindex{xql}, @@ -7287,8 +8253,8 @@ Available are \keyindex{xccl}. \item The \raise.5ex\hbox{\musixchar115}~{}~symbol which is obtained using the -\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded with a -``\verb|ox|'' (.!.). +\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded by +``\verb|ox|'' . Available are \keyindex{oxqu}, \keyindex{oxql}, @@ -7300,8 +8266,8 @@ Available are \keyindex{oxccl}. \item The \raise.5ex\hbox{\musixchar118}~{}~symbol which is obtained using the -\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded with a -``\verb|ro|'' (think of \ital{RhOmbus} for e.g.~shaker). +\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded by +``\verb|ro|'' (think of {\it r}h{\it o}mbus). Available are \keyindex{roqu}, \keyindex{roql}, @@ -7313,8 +8279,8 @@ Available are \keyindex{roccl}. \item The \raise.5ex\hbox{\musixchar116}~{}~symbol which is obtained using the -\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded with a -``\verb|tg|'' (think of \ital{TrianGle} for e.g.~rattle). +\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded by +``\verb|tg|'' (think of {\it t}rian{\it g}le). Available are \keyindex{tgqu}, \keyindex{tgql}, @@ -7325,9 +8291,10 @@ Available are \keyindex{tgcl} and \keyindex{tgccl}. - \item The \raise.5ex\hbox to 1em{\musixchar117\hfil} symbol which is obtained using the -\verb|\qu|, \verb|\qb|, \verb|\cu|, etc.~macros preceeded with a -``\verb|k|'' (for bongos). + \item The \raise.5ex\hbox to 1em{\musixchar117\hfil}~{}~symbol which is obtained +using the +\verb|\qu|, \verb|\qb|, \verb|\cu|, etc.~macros preceeded by +``\verb|k|'' . Available are \keyindex{kqu}, \keyindex{kql}, @@ -7338,8 +8305,142 @@ Available are \keyindex{kcl} and \keyindex{kccl}. \end{itemize} + +The diamond shaped noteheads described in section \ref{diam} are also +available, because \verb|musixper.tex| inputs \verb|musixdia.tex|. + +If any of the foregoing notes need to be dotted, you must use the explicit +dotting macros \verb|\pt|, \verb|\ppt|, or \verb|\pppt| as described in +section \ref{dots}. + +Since the usage of these note symbols is +not standardized, it would be wise to include in the score a explanation +of which symbol corresponds to which specific percussion instrument. + +A special \itxem{drum clef}---comprising two heavy vertical bars---can +be made to replace the normal clef for the $n$-th intrument by saying +\keyindex{setclefsymbol}\onen\keyindex{drumclef} . +To cause this to appear at the right vertical position, the instrument should +previously have been assigned a treble clef (or not explicitly assigned any +clef, thereby giving it a treble clef by default). + +Percussion music might be written on a staff with either one or five lines. +If there are several different percussions instruments it may be useful to +use a five-line staff with a drum clef, and differentiate the instruments +by the type of the note heads and the apparent +pitch of the note on the staff. Here is an example of the +latter\footnote{provided by Agusti {\sc Mart\'in Domingo}}: + +\medskip +\begin{music} +\generalmeter{\meterfrac44} +\setclefsymbol1\drumclef +\parindent0pt\startpiece +\leftrepeat +\Notes\zql f\rlap\qp\ibu0m0\xqb0{nn}\enotes +\Notes\kzq d\zql f\zq j\xqb0n\tbu0\xqb0n\enotes +\Notes\zql f\rlap\qp\ibu0m0\xqb0{nn}\enotes +\Notes\kzq d\zql f\zq j\xqb0n\tbu0\xqb0n\enotes +\bar +\Notes\zql f\rlap\qp\ibu0m0\kqb0{nn}\enotes +\Notes\xzq d\zql f\zq j\kqb0n\tbu0\kqb0n\enotes +\Notes\zql f\rlap\qp\ibu0m0\kqb0{nn}\enotes +\Notes\xzq d\zql f\zq j\kqb0n\tbu0\kqb0n\enotes +\bar +\Notes\zql f\rlap\qp\ibu0m0\oxqb0{nn}\enotes +\Notes\oxzq d\zql f\zq j\kqb0n\tbu0\oxqb0n\enotes +\Notes\zql f\rlap\qp\ibu0m0\oxqb0{nn}\enotes +\Notes\oxzq d\zql f\zq j\kqb0n\tbu0\oxqb0n\enotes +\setrightrepeat\endpiece +\end{music} +\noindent Its coding is + \begin{quote}\begin{verbatim} +\begin{music} +\instrumentnumber{1} +\generalmeter{\meterfrac44} +\setclefsymbol1\drumclef +\parindent0pt\startpiece +\leftrepeat +\Notes\zql f\rlap\qp\ibu0m0\xqb0{nn}\enotes +\Notes\kzq d\zql f\zq j\xqb0n\tbu0\xqb0n\enotes +\Notes\zql f\rlap\qp\ibu0m0\xqb0{nn}\enotes +\Notes\kzq d\zql f\zq j\xqb0n\tbu0\xqb0n\enotes +\bar +\Notes\zql f\rlap\qp\ibu0m0\kqb0{nn}\enotes +\Notes\xzq d\zql f\zq j\kqb0n\tbu0\kqb0n\enotes +\Notes\zql f\rlap\qp\ibu0m0\kqb0{nn}\enotes +\Notes\xzq d\zql f\zq j\kqb0n\tbu0\kqb0n\enotes +\bar +\Notes\zql f\rlap\qp\ibu0m0\oxqb0{nn}\enotes +\Notes\oxzq d\zql f\zq j\kqb0n\tbu0\oxqb0n\enotes +\Notes\zql f\rlap\qp\ibu0m0\oxqb0{nn}\enotes +\Notes\oxzq d\zql f\zq j\kqb0n\tbu0\oxqb0n\enotes +\setrightrepeat\endpiece +\end{music} + \end{verbatim}\end{quote} + +Here is an example of a single-line percussion staff using +diamond-shaped note heads: + +\begin{music} +\parindent 19mm +\instrumentnumber{3} +\setname1{keyboard} \setname2{drum} \setname3{monks} +\setlines2{1} +\setlines3{4} +\setinterinstrument1{-2\Interligne}% less vertical space above +\setinterinstrument2{-2\Interligne}% and below the percussion +\sepbarrules +\setsign1{-1} % one flat at keyboard +\generalmeter{\meterfrac24} +\setmeter3\empty +\setclef3\alto +\setclef1\bass +\setstaffs12 % 2 staffs at keyboard +\setclefsymbol3\gregorianCclef % gregorian C clef at instrument 3 +\setclefsymbol2\drumclef % cancel G clef at instrument 2 +\startextract +\Notes\hu F|\zh c\hu h&\dnq4&\squ{acd}\enotes\bar +\NOtes\qu I|\zq N\qu d&\qp&\diapunc f\enotes +\NOtes\qu J|\zq a\qu e&\ynq4&\diapunc e\enotes\bar +\notes\hu G|\zh b\hu d&\dnq4&\zsqu d\rsqu g\squ{hgh}\enotes +\endextract +\end{music} +\noindent which is coded as follows: + +\begin{verbatim} +\parindent 19mm +\instrumentnumber{3} +\setname1{keyboard} \setname2{drum} \setname3{monks} +\setlines2{1} +\setlines3{4} +\setinterinstrument1{-2\Interligne}% less vertical space above +\setinterinstrument2{-2\Interligne}% and below the percussion +\sepbarrules +\setsign1{-1} % one flat at keyboard +\generalmeter{\meterfrac24} +\setmeter3{\empty} +\setclef3{\alto} +\setclef1{\bass} +\setstaffs1{2} % 2 staffs at keyboard +\setclefsymbol3{\gregorianCclef} % gregorian C clef at instrument 3 +\setclefsymbol2{\drumclef} % cancel G clef at instrument 2 +\startextract +\end{verbatim} + +% (DAS) Sorry, guys, I couldn't figure out how to get the |'s to work in this +% verbatim. +% +\vskip-11pt +\def\Vert{{\tt\char'174}} +\noindent\verb|\Notes\hu F|\Vert\verb|\zh c\hu h&\dnq4&\squ{acd}\enotes\bar|\\ +\verb|\NOtes\qu I|\Vert\verb|\zq N\qu d&\qp&\diapunc f\enotes|\\ +\verb|\NOtes\qu J|\Vert\verb|\zq a\qu e&\ynq4&\diapunc f\enotes\bar|\\ +\verb|\notes\hu G|\Vert\verb|\zh b\hu d&\dnq4&\zsqu d\rsqu g\squ{hgh}\enotes|\\ +\verb|\endextract| + \subsection{musixpoi} - Adds pointed compact definitions of notes. + Adds definitions of less common singly and doubly dotted notes. Available are \keyindex{ccup}, \keyindex{zccup}, @@ -7367,24 +8468,22 @@ Available are \keyindex{zcccclpp}. %\check - \subsection{musixstr}\label{musixstr}\index{musixstr@{\tt musixstr.tex}} - This file provides a set of indications for \itxem{string instruments} (e.g. -\ixem{violin}) execution, provided by Werner {\sc Icking}\index{Icking, -W.@{\sc Icking, W.}}. - + \subsection{musixps}\label{musixps}\index{musixps@{\tt musixps.tex}} + Activates type K postscript slurs, ties, and hairpins (see \ref{PostscriptSlurs}). - {\input musixstr - The symbols described below should be posted at the wanted place using - \verb|\zcharnote|$p$\verb|{|$$\verb|}|. + \subsection{musixstr}\label{musixstr}\index{musixstr@{\tt musixstr.tex}} + Provides bowing and other symbols for \itxem{string instruments}\footnote{provided +by Werner {\sc Icking}}. The symbol can be posted at the desired position using + \verb|\zcharnote|\pitchp\verb|{|$command$\verb|}|. The available symbols and +their meanings are as follows: -\begin{quote}\begin{description} +{\input musixstr +\begin{quote}\begin{description}\setlength{\itemsep}{0ex} \item[\hbox to 1em{\AB}~: \keyindex{AB} or \keyindex{downbow}] down-bow - \item[\hbox to 1em{\AUF}~: \keyindex{AUF} or \keyindex{upbow}] up-bow - \item[\hbox to 1em{\SP}~: \keyindex{SP}] at the top of bow \item[\hbox to 1em{\FR}~: \keyindex{FR}] at the nut of bow @@ -7408,20 +8507,17 @@ W.@{\sc Icking, W.}}. %\check \subsection{musixsty}\index{musixsty@{\tt musixsty.tex}} - This file is made for non \TeX perts and/or lazy score typesetters. Although -related to \musixtex, it has little to see with music, but it helps writing -all surrounding texts, like \itxem{titles}, \itxem{author names}, historical -comments, etc. It provides - \begin{itemize} - \item a set of font definitions of common use, such as \verb|\tenrm|, -\verb|\eightrm|, etc., - \item a reasonable setting of \keyindex{hsize}, \keyindex{vsize}, -\keyindex{hoffset}, \keyindex{voffset} dimensions in order to have a good -layout fit for European A4 paper\footnote{People addicted to \itxem{legal} or -other paper sizes should correct it for their own purpose.} + Provides certain text-handling facilities for titles, footnotes, and other +items not related to lyrics. It should not be used with \LaTeX. It includes + \begin{itemize}\setlength{\itemsep}{0ex} + \item definitions for commonly used fonts such as \verb|\tenrm|, +\verb|\eightrm|, etc.; + \item definitions of \keyindex{hsize}, \keyindex{vsize}, +\keyindex{hoffset}, \keyindex{voffset} suitable for A4 paper; those using +other sizes may wish to modify it once and for all; \item a set of text size commands: - \begin{description} + \begin{description}\setlength{\itemsep}{0ex} \item[\keyindex{eightpoint}] which sets the usual \keyindex{rm}, \keyindex{bf}, \keyindex{sl}, \keyindex{it} commands to 8 point font size; \item[\keyindex{tenpoint}] which sets the usual \keyindex{rm}, @@ -7432,69 +8528,62 @@ other paper sizes should correct it for their own purpose.} \item[\keyindex{twtypoint}] to get 20.74 point font size; \item[\keyindex{twfvpoint}] to get 24.88 point font size; \end{description} - \item a set of commands to make easy piece titles: - \begin{itemize} \item \keyindex{author} or + \item commands for creating titles: + \begin{itemize}\setlength{\itemsep}{0ex} \item \keyindex{author} or \keyindex{fullauthor} to be put at the right of the first page, below the -title of the piece; the calling sequence is, for example: +title of the piece; the calling sequence is, for example \verb| \author{Daniel TAUPIN\\organiste \`a Gif-sur-Yvette}| - \noindent where the \verb|\\| makes the author's name displayed on two or -several lines. - + \noindent where the \verb|\\| causes the author's name to be displayed on +two lines; - \item \keyindex{shortauthor} to be put at the bottom of each page, - \item \keyindex{fulltitle} which is the big main title of the piece, - \item \keyindex{subtitle} is displayed below the main title of the piece, + \item \keyindex{shortauthor} to be put at the bottom of each page; + \item \keyindex{fulltitle} which is the main title of the piece; + \item \keyindex{subtitle} is displayed below the main title of the piece; \item \keyindex{shorttitle} or \keyindex{title} - which is the title repeated at the bottom of each page, - \item \keyindex{othermention} which is displayed on the left of the page, in -front of the author's name (it may contain several \verb|\\| to display it on -several lines, - \item \keyindex{maketitle} which displays all the previous stuff. + which is the title repeated at the bottom of each page; + \item \keyindex{othermention} which is displayed on the left of the page, +vertically aligned with author's name. It may contain \verb|\\| to display it on +several lines; + \item \keyindex{maketitle} which displays all the previous stuff; \end{itemize} - \item Some additional commands to make \itxem{footnotes}. - These commands are - \begin{itemize} - \item The normal Plain-\TeX\ \keyindex{footnote} command which has two -arguments --- not only one as in \LaTeX\index{LaTeX@\protect\LaTeX} --- namely -the label of the footnote, i.e. any sequence of characters and not only -figures, and the text of the footnote. - -\begin{important} the \verb|\footnote| command does not work inside -boxes\footnote{This is not a \TeX-bug, this is a feature!}, therefore this -command must not be issued within music. But another alternate feature is -provided (see below). - \end{important} + \item commands for making \itxem{footnotes}: + \begin{itemize}\setlength{\itemsep}{0ex} + \item The normal Plain-\TeX\ \keyindex{footnote} command, which has two +arguments---not just one as in \LaTeX\protect\index{LATEX@\LaTeX}---namely +the label of the footnote, which can be any sequence of characters, and +the text of the footnote. This command does not work inside +boxes, so it cannot be issued within music; \item The \keyindex{Footnote} command, which counts the footnotes and uses a -number as the label of the foot note (equivalent to \LaTeX's \verb|\footnote| -command). The same restriction applies concerning footnotes within the music -coding. +number as the label of the footnote (equivalent to \LaTeX's \verb|\footnote| +command). The same restriction as with \verb|\footnote| applies concerning +its use within the music coding; \item The \keyindex{vfootnote} command, taken from the Plain-\TeX, which -makes the footnote itself at the bottom of the current page, but does not put -the footnote label at the place it is referred in the main text. - - Thus, if a footnote is needed whose reference lies inside the music itself, -the music typesetter must perform it in two steps: +places a footnote at the bottom of the current page, but does not put +the footnote label at the place the command is entered in the main text. This +also may not be used within music, but if a footnote is needed whose reference +lies inside the music, it can be entered in two steps: \begin{enumerate} - \item quote the reference inside the music, using \verb|zcharnote| for -example, - \item post the footnote itself, using \verb|\vfootnote| outside the music, -either before \keyindex{startpiece} (or \verb|\debutmorceau| with {\tt -musixcpt.tex}) or between \keyindex{stoppiece} and -\keyindex{piececont} or equivalent commands. + \item manually insert the reference inside the music, using e.g. \verb|zcharnote|; + \item post the footnote itself with \verb|\vfootnote| outside the music, +either before \keyindex{startpiece} or between \keyindex{stoppiece} and +\keyindex{contpiece} or equivalent commands. \end{enumerate} \end{itemize} \end{itemize} - Note that \verb|musixsty| should not be used with \LaTeX. + \subsection{musixtmr}\index{musixtmr@{\tt musixtmr.tex}} + Replaces the standard \texttt{musixtex} fonts by the Times series fonts, + as default (see \ref{musixtmr}). + \subsection{musixtri}\index{musixtri@{\tt musixtri.tex}} -Provides triple pointed note symbols. +Provides triply dotted note symbols. Available are: \keyindex{lpppt}, \keyindex{whppp}, @@ -7516,364 +8605,346 @@ Available are: \keyindex{qbppp} and \keyindex{zqbppp}. -\section{Often reported problems and discussion faxilities} - -\subsection{Newsgroups}\index{newsgroups} No specific newsgroup exist -concerning \mutex, \musictex{} or \musixtex; nevertheless W. Icking saw -articles on this topic in {\tt comp.text.tex} as well as in {\tt -de.comp.text.tex}. + \subsection{tuplet}\index{tuplet@{\tt tuplet.tex}} + Causes the figure in xtuplets to be printed within a small gap in the bracket +(see \ref{tuplet}). -\subsection{Mailing list} A mailing-list does exist which was formerly -dedicated to \mutex, and now to \musictex{} and mostly to \musixtex. -You can subscribe to it by -sending an e-mail to {\tt mutex-request@gmd.de} -with the message line\index{mailing list} +% DAS Discussed elsewhere +%\section{The \TeX-music Mailing List} +% +%If you decide to learn to use \musixtex, you are likely to wish that there were +%someone to answer your questions. That is exactly what you'll find on the \TeX-music +%mailing list: experts from all over the world with lots of experience with +%\musixtex{} and related software, who are glad to answer questions and help solve +%problems. You can find out more about the list and sign up at +%\href{http://icking-music-archive.org/mailman/listinfo/tex-music} +%{\underline{\tt http://icking-music-archive.org/mailman/listinfo/tex-music}}. + + +\chapter{Acquiring, Installing, and Using \musixtex}\label{installation} + +This chapter will assume that \TeX\ +is installed. Most \unix\ or Linux systems come with \TeX\ already installed. +If using MS Windows, you'll need to have manually installed some version of +\TeX. MiK\TeX\ is the most common variant by far and therefore will be assumed. If +you need to install MiK\TeX, you can get the software from +\href{http://www.miktex.org/}{\underline{\texttt{http://www.miktex.org}}} +or from CTAN. The Werner Icking Archive contains excellent +\href{http://icking-music-archive.org/software/musixtex/musixwinstall.pdf}% +{\underline{instructions for installing MiK\TeX}}% +\footnote{Thanks to Eva {\sc Jaksch}}. + +\section{Where to get \musixtex: the Werner Icking Archive}\label{getstuff} + +As already mentioned, the home base for all matters related to \musixtex\ is +the Werner Icking Music Archive, at +\href{http://icking-music-archive.org}{\underline{http://icking-music-archive.org}}. +The most up-to-date versions of \musixtex\ and friends are located in the +\href{http://icking-music-archive.org/software/indexmt6.html}{\underline{software}} +section of the archive. The stable distribution of \musixtex\ will be contained in +\href{http://icking-music-archive.org/software/musixtex/musixtex.zip} +{\underline{\verb|musixtex.zip|}}, which is intended to serve all operating +systems. +The CTAN servers are official mirrors. The main CTAN server's +web link is\\ +\href{http://www.ctan.org/tex-archive/macros/musixtex/taupin/} +{\underline{http://www.ctan.org/tex-archive/macros/musixtex/taupin/}} +and the FTP link is\\ +\href{http://ftp.ctan.org/tex-archive/macros/musixtex/taupin/} +{\underline{http://ftp.ctan.org/tex-archive/macros/musixtex/taupin/}}. + +\subsection{End of line char in text files} +The files in the Werner Icking Archive have been contributed by such a wide +range of authors that there is no common standard for the line endings in text files. +But the key text files serve as input to programs such as \TeX\ and \MF\ +which are insensitive to this. If you use a PC and run into problems using any of +these text files, you might be able to solve them with the program +\verb|flip.exe| which comes with the \musixtex\ distribution. Run it from a +command window by typing \verb|flip -m| $<$filename$>$, and it will +convert line endings from the \unix to MS-DOS convention. + +\subsection{Pre-installed \musixtex} +Many versions of \TeX\ include \musixtex\ as a package. The included version is likely +to be out of date and probably should not be used. When an archived version is +downloaded and properly installed, it will supersede the pre-installed version. + +\section{Installing \musixtex} +The most useful \musixtex\ uses Postscript and produces PDF files. +The installation is very system dependent and therefore beyond the scope of this manual. +You may refer to the installation manual or to the HOWTO files in the archive for either +\href{http://icking-music-archive/software/musixtex/musixwinstall.pdf} +{\underline{Windows}}\ or +\href{http://icking-music-archive/software/musixtex/musixtex-for-unix.html} +{\underline{\unix}}. +Whatever course you choose, there are really just a few +fundamental tasks you must accomplish: +\begin{itemize}\setlength{\itemsep}{0ex} + \item \musixtex\ comprises some \TeX\ source files (\verb|.tex|, \verb|.sty|), +font files, and the executable \verb|musixflx|. The \TeX\ sources and font +files must be placed in locations where \TeX\ can find them; + \item \TeX\ must be advised of the locations of those files; + \item If you are installing any postscript fonts, you'll have to add a map +file somewhere in the \TeX\ file structure, and locate and modify a configuration +file such as \verb|config.ps| to record the addition of the map file. + \item \verb|musixflx| must be placed in a folder that is in your search path, +so it can be executed from your working directory; + \item As stated before, to compile a score, you must run in sequence \verb|tex|, \verb|musixflx|, +and \verb|tex| again. This will produce a \verb|.dvi| file; + \item To view the result, convert the file to +postscript with \textbf{dvips} and then view it with a postscript viewer such +as \textbf{GSview} and \textbf{ghostscript}, or convert the \verb|.dvi| +directly to a PDF file with \textbf{pdftex} and then view it with any PDF viewer +such as \textbf{Adobe Reader}. You also can use a DVI viewer, but if you are using type K postscript slurs, note that DVI viewers will not display the slurs. +\end{itemize} -{\tt subscribe} -\subsection{FAQs}\index{FAQ} +\section{Running Musix\TeX\ } -{\tt gmd.de}, too, has a FAQ which is presently out-of-date and quite unusable -since it displays many questions and comments without giving the answer. -However, it will be probably enhanced in a near future. This -FAQ can be accessed using {\tt -ftp}: +In most systems the commands run in a shell. Unix people are familiar with it. +Also in MS Windows systems, there are a large number of editor/shell programs. Although not recommended, you always can use the DOS +\verb|cmd| shell (\verb|cmd.exe|). -{\tt ftp://ftp.gmd.de/music/mutex/faq} -\noindent and the archive of the mailing list may be accessed also by {\tt -ftp}: +In the examples, a file \verb|mymp| +(\textbf{my} \textbf{m}aster\textbf{p}iece) is used, for demonstrating +the batch commands. -{\tt ftp://ftp.gmd.de/music/mutex/archive} -\noindent or: -{\tt http://www.gmd.de/Mail/} +\subsection{Batch commands for making DVI and postscript (MS Windows)} - {\tt ftp.gmd.de} also contains a lot of stuff concerning music and -typesetting music, which can be accessed by WWW at: +This commands are available in the \musixtex\ distribution. They produce +a DVI file that can be displayed by a viewer +(normally a part of the \TeX\ installation), or/and a Postscript file (normally with GSview). -{\tt http://www.gmd.de/Misc/Music/} +After running \TeX\ on a music file, \verb|musixflx| must run. The program \verb|musixflx| calculates the number of bars on a system (music line), in order to have a nice layout. Then, \TeX\ must run again. +When the paths to the binaries and the batch files are set properly, then the following commands can be used as is. +\subsubsection{Using \TeX\ } +The \ixem{musixtex.bat} command fulfills the sequence \texttt{\TeX\ $\Rightarrow$ musixflx $\Rightarrow$ \TeX}~. -\chapter{Installation}\label{installation} +\begin{quote}\begin{verbatim} +rem musixtex.bat +if not exist %1.tex goto end +if exist %1.mx1 del %1.mx1 +if exist %1.mx2 del %1.mx2 +tex %1 +if errorlevel 2 goto end +musixflx %1 +if errorlevel 1 goto end +tex %1 +:end +\end{verbatim}\end{quote} +The next command (\verb|mupsgs.bat|) processes \verb|mymp.tex| and makes a Postscript file and dispays the file. +\begin{quote}\begin{verbatim} +rem mupsgs.bat +call musixtex.bat %1 +DVIPS.EXE -e0 -t a4 -P pdf -G0 %1.dvi +gsview32.exe %1.ps +\end{verbatim}\end{quote} +The \verb|dvips| output looks a little bit nicer using the options +\verb|-e0| (character drift value~=~0) and \verb|-G0| (shift low chars +to higher position). +\verb|-t a4| is for a4 paper (\verb|-t letter| for letter format). +If the output is to be converted in Adobe Acrobat pdf format, the option \verb|-P pdf| +(load \verb|config.pdf|) is needed. -\section{*Getting the stuff} +If you want to make a PDF output, you may add the line (after \verb+dvips+): -As seen before, all the files are available at \itxem{anonymous ftp} -\verb|hprib.lps.u-psud.fr| (193.55.39.152) in the directory +\noindent{\small +\verb+gswin32c -dBATCH -dNOPAUSE -sDEVICE=pdfwrite -r600 -sOutputFile=%1.pdf -c save pop -f %1.ps+ +} - {\tt /pub/musixtex} +\subsubsection{Using La\TeX\ } +Replace ``\verb+tex+'' by ``\verb+latex+'' in the file \verb+musixtex.bat+~. - The {\tt *.mf} source files are in - {\tt /pub/musixtex/mf} +\subsection{Running \musixtex\ without a shell} +You also may run the commands without a shell. +To forward the argument in the batch file, +use an other batch file which stays in the same directory as your +masterpiece \verb|mymp.tex| and has the same name: \verb|mymp.bat|~. +\verb|mymp.bat| consists of 1 line: \verb|musixtex.bat %~n0|~. -\noindent and the {\tt *.tfm} files are in +\noindent Thus \verb|mymp.bat| passes his own name (\verb|mymp|) via \verb|%~n0| +to the \verb|musixtex.bat| command. - {\tt /pub/musixtex/tfm} +Here are four examples of batch files, dependent of the method you are using. +\endcatcodesmusic +%\begin{quote}\begin{verbatim} +\begin{center} +\begin{tabular}{|l|l|l|} +\multicolumn{3}{c}{Choose only one batch file}\\[.4ex]\hline +Batch file for&making DVI&making postscript\\\hline +name &\verb+rem mymp.bat+&\verb+rem mymp.bat+\\ +contents&\verb+musixtex.bat %~n0+&\verb+mupsgs.bat %~n0+\\\hline +\end{tabular} +%\end{verbatim}\end{quote} +\end{center} -\noindent Besides, this manual is in +\subsection{Running \musixtex\ without giving a file name} +If you want to process i.e.\ all \texttt{.tex} files in a directory, then you could make a batch file +\texttt{texall.bat} with the following commands: - {\tt /pub/musixtex/musixdoc.ps} +\begin{quote}\begin{verbatim} +rem texall +for /F %%I in ('dir /B *.tex') do call mupsgs.bat %%~nI +\end{verbatim}\end{quote} - Another directory, namely {\tt /pub/music\_zips} normally contains {\tt -musixtex.zip} which contains all the distribution for PC (\ixem{MS-DOS}) -computers. This is only for {\tt ftp}-ing convenience since all source files -are directly available in the general directory and subdirectories. In -addition a set of examples (i.e. the files whose name does not begin with -``\verb|musix|'') is packed into \ttxem{musixexa.zip} and this manual is also in -\ttxem{musixdoc\_ps.zip} (the PostScript version) and -\ttxem{musixdoc\_lj.zip} (the PCL version for Laserjets). -Finally the PK files of specific fonts are provided in \ttxem{musixpk.zip}, -\ttxem{musixpk3.zip} (300 and 360 dpi) and \ttxem{musixpk6.zip} (600 dpi); -getting these files is useless if you are able to \MF{} the files whose {\tt -*.mf} are provided in the main package. +Of course, this command also works if there is only one file in a directory, which means you +may use \texttt{texall.bat} for a single file, without giving an argument. -{\sl\noindent CAUTION: the zipped files are provided in the PC line coding, -i.e. with {\tt } at line ends, rather than single {\tt } as in the -\unix{} coding. This means that \unix{} users must carefully unzip these files -using the ``{\tt-a}'' (our ``{\tt-aa}'' options of {\tt unzip} to get correct -coding of the source files. Other wise they would find a lot of ``{\tt\^{}M}'' in -their files, which may cause further troubles.}\index{PC end of line -coding}\index{\^{}M} +\chapter{\musixtex\ examples} - Besides, /unix{} users can also --- when in directory {\tt /pub} --- ask for: +The file \verb|musixdoc.tex|, the source for this manual, contains many useful +examples. In the manual, many examples are accompanied by a display of the code +that produced them, while for a few only an image of the extract is included and you'll +have to look in \verb|musixdoc.tex| to see the coding. - {\tt get musixtex.tar}\quad or +Other useful examples cannot be embedded in the source, either because they are +meant to be in \TeX, not La\TeX, or because they are simply to large. For +these the source files also are provided separately. - {\tt get musixtex.tar.Z}\quad or +When compiling or viewing any of the examples, you should keep in mind that +most DVI previewers and laser printers have +their origin one inch below and one inch to the right of the upper right corner +of the paper, while the musical examples have their upper left +corner just one centimeter to the right and below the top left corner of the page. +Therefore, special parameters may have to be given to the DVI transcription +programs unless special \keyindex{hoffset} and \keyindex{voffset} \TeX\ +commands have been included within the \TeX\ source. - {\tt get musixtex.tar.gz}\quad and even +\section{Small examples} - {\tt get musixtex.zip} +\begin{itemize}\setlength{\itemsep}{0ex} - Then, the {\tt hprib.lps.u-psud.fr} server will perform required collection -and/or compression ``on-the-fly''. Note that in that case the source files -will be in the \unix{} coding rather than PC coding of end of lines. Usually, -this is harmless for PC editors and \TeX{} motors, but who knows... - +\item{\tt ossiaexa.tex}~: This is a stand-alone example of the use of ossia, +provided by Olivier Vogel (section \ref{ossia} on page \pageref{ossia}). -\ital{Fonts}\index{fonts} are provided in {\tt musixtex.zip} as {\tt *.mf} -files but also as {\tt *.tfm} and {\tt*.pk} files for 300~dpi printers or -previewers. Other values of the \ixem{dpi} parameter are also provided in -\verb|musixpk*.zip|. +\item{\tt 8bitchar.tex}~: Using 8bit characters. Here, the European +character set is used. See section \ref{8bit} on page \pageref{8bit} for other sets. -Needed fonts are {\tt musix20}, {\tt musix16}, {\tt musix13}, {\tt musix11}, -{\tt musix24}, {\tt musix29}, {\tt musixspx}\footnote{Inside this file are two -types of piano brackets available. The default you can see printing this doc, -the other you can see printing {\tt musicdoc}. If you prefer the other, which -are designed by Stanislav Kneifl, follow the instruction inside {\tt -musixsps.mf}},\index{Kneifl, S.@{\sc Kneifl, S.}} - {\tt xslhu20}, {\tt xslhu16}, {\tt xslhu24}, {\tt xslhu29}, -{\tt xslhd20}, {\tt xslhd16}, {\tt xslhd24}, {\tt xslhd29}, -{\tt xslu20}, {\tt xslu16}, {\tt xslu24}, {\tt xslu29}, -{\tt xsld20}, {\tt xsld16}, {\tt xsld24}, {\tt xsld29}, -{\tt xslz20} and {\tt xslhz20}. +\end{itemize} -\section{Installing the fonts} -\ital{All} files with the extension {\tt .tfm}\footnote{\TeX\ font metric, -needed directly from binary for \TeX ing the examples or the doc.} must -be copied in that directory, in which the other {\tt .tfm}'s are. +\section{Full examples} +All of these examples and many others are available in +\href{http://icking-music-archive.org/software/musixtex/musixexa.zip} +{\underline{\texttt{musixexa.zip}}} or +\href{http://icking-music-archive.org/software/musixtex/musixexa-T112.tar.gz} +{\underline{\texttt{musixexa-T112.tar.gz}}}. Some of them require the +presence of \verb|musixcpt.tex| which makes examples created in +Music\TeX\ compatible with \musixtex. Here we only mention a few of +special interest. + +\subsection{Examples mentioned in the manual} + +\begin{itemize}\setlength{\itemsep}{0ex} + \item{\tt avemaria.tex}~: the ``M\'editation'' (alias ``Ave Maria'') by +Charles {\sc Gounod} for organ and violin or voice.\index{Gounod, C.@{\sc Gounod, C.}} +To run this five-page example you'll also need \texttt{avemariax.tex}. +It demonstrates the use of separated bar rules (section \ref{avemaria2}) +and the use of staves of different sizes (section \ref{avemaria}). +Also, an additional instrument is created for lyrics. This was a common +practice before the \texttt{musixlyr} package was created by Rainer Dunker. + + \item{\tt glorias.tex}~: a local melody for the French version of +\ital{Gloria in excelsis Deo}, a three-page piece demonstrating the use of the hardlyrics +commands (section \ref{glorias}). {\tt gloriab.tex} is the same piece, but with organ accompaniment. -If you get the error message: +\end{itemize} -{\tt! Font ... not loadable: Metric (TFM) file not found.} +\subsection{Other examples, provided by the authors of MusiX\TeX } -\index{Metric (TFM) not found}\noindent this means you have not succeeded to -install the {\tt .tfm}'s in the right directory. This is not a \musixtex\ -error, but a local \TeX\ implementation error/misunderstanding. Then read or -re-read your \TeX\ installation doc, put the {\tt tfm}'s at the very right -place and start again. +\begin{itemize}\setlength{\itemsep}{0ex} -The {\tt .tfm} only contains the width, height and depth of every character of -a font and is the only needed font-file for \TeX ing. For previewing and/or -printing you need the pixel fonts. On most systems they are packed and have -the extension \verb|.pk|(but perhaps you need the \verb|.gf|-files or -\verb|.300|-files or other: Ask your local \TeX-wizard\footnote{I have read a -mail from somebody, who has said, that he is able --- because he is a -professional --- to write an \verb|install| for installation of packages like -\musixtex. Really? Do it.}!) Most needed and spreaded are fonts for -\verb|dvi|-driver with resolution of 300dpi. Using em\TeX{} associated drivers -the \verb|.pk|-fonts have to be copied in \verb|...\pixel.lj\300dpi\| as a -default, and in general in a directory specified by the environment variable -{\tt DVIDRVFONTS}\footnote{Look at {\tt dvidrv.doc} for more information.}. For -other resolution refer your local manual or \TeX-wizard. - -\section{Building a format}\label{formatbuild} - -Introducing these files in a \itxem{format} (with \ixem{INITEX}) is a mean of -saving computer time and memory. Besides, if you include {\tt musixcpt.tex} in -your format, you will have a format compatible with \musictex\ and --- -provided you made the symmetrical format for \musictex\ --- you can compile -exactly the same source files with both \musictex\ and \musixtex, which is a -good means of finding whether some strange behaviour is specific to one -implementation of the other, or whether you made some general -mistake\footnote{Not all authors have the same opinion :-). But I was told, -that my opinion doesn't count, so forget it -- A.E.}... - -However, although having a \musixtex{} format saves much time, it can also -lead to time wasting weird things in case of updates~: if you update your -source of {\tt musixtex.tex} but not the format {\tt musixtex.fmt}, then -running the command {\tt musixtex} will invoke the old unmodified format... - -\subsection{Starting from nil} -\begin{enumerate} - \item Build up a file called \verb|musixtex.ini| with following content:\\ -\begin{verbatim} -\input plain % or dcplain or eplain or see later a safer way of doing -\input musixtex -% here can you add your most needed files from extension lib -% musixcpt at very last ! -\end{verbatim} -\verb|\def\fmtname{musixtex}\def\fmtversion{|{\tt\mxversion}\verb|}| -\verb|\dump| - \item \verb|initex musixtex.ini|\footnote{depends on your implementation}. - \item \verb|tex &musixtex| \ital{jobname}\footnote{depends on your -implementation}. -\end{enumerate} -\vfill + \item{\tt traeumer.tex}~: the famous ``Tr\"aumerei'' by +Robert {\sc Schumann}\index{Schumann, R.@{\sc Schumann, R.}} for piano, in genuine +\musixtex\ but with some +additions to perform ascending bitmapped \itxem{crescendos}. +There are also S-shaped slurs between 2 staves. -\subsection{Starting from your usual plain format} -\begin{enumerate} - \item First, try to find --- on your favourite system --- whether \verb|tex| -is an executable routine, or a \verb|tex.bat| command in MS-DOS or a -\ital{shell} procedure under \unix. - \item If \verb|tex| is a command try to find the ``{\tt initex}'' local -command: usually it is either \verb|initex| or \verb|tex -i|. - \item Try to find the name of the ``plain \TeX'' format (usually posted -when \TeX ing anything). - \item Then, \ital{mutatis mutandis}, assuming the ``{\tt initex}'' command -has the name \verb|initex| and the ``plain \TeX'' format is \verb|plain|, run -the shell command: + \item{\tt parnasum.tex}~: the first page of ``Doctor gradus ad +Parnassum'' by Claude {\sc Debussy}\index{Debussy, +C.@{\sc Debussy, C.}} for piano. +It contains a rather complex example of a new command \verb+\Special+ +to create staff-jumping doubly beamed notes. +\end{itemize} - \medskip - \verb|initex \&plain musixtex.ins| +\subsection{Additional documentation} - \medskip\noindent which will produce a format file {\tt musixtex.fmt} which -you shall put in the same directory as the others formats (hoping you have -the access rights...). Note --- in \unix{} systems --- the backslash before -the \verb|&| which tells the system to consider this character as a member of -the command, not a batch execution indication. Once this is done, you can -\musixtex\ any score you have written using a command such as: +\begin{itemize}\setlength{\itemsep}{0ex} - \medskip - \verb|tex \&musixtex my-score.tex| + \item{\tt sottieng}~: Notation mistakes, provided by Jean-Pierre Coulon. - \medskip\noindent that is, specifying your new format {\tt musixtex.fmt} -instead of the usual {\tt plain.fmt}. +\end{itemize} - For \ixem{MS-DOS}/{\tt emTeX} users the format building command is: +\section{Compiling musixdoc.tex} +\subsection{Command sequence} - \verb|tex386 -i &plain musixtex.ins| +This is an example of a command sequence (in fact this is the normal procedure for La\TeX\ files). \verb|musixdoc.tex| is a large file, if you use an older version of La\TeX, use ``elatex'' in the command file. +\begin{quote}\begin{verbatim} +latex musixdoc +musixflx musixdoc +latex musixdoc +makeindex -l musixdoc +latex musixdoc +(may require several more runs of elatex to get rid of + "labels may have changed ..." warnings) +dvips -ta4 musixdoc +\end{verbatim}\end{quote} - \noindent (you can change \verb|plain| into \verb|dc-plain| or any other -plain-like format you have) then: +To produce \verb|musixdoc.pdf|, open \verb|musixdoc.ps| in \texttt{GSview}. Go to +\verb+File|Convert+, select \verb|pdfwrite| at 600 dpi resolution, click +\verb|OK|. - \verb|copy musixtex.fmt \emtex\btexfmts\*.*| +\subsection{Using batch files} +There are +many other files that are required to compile this document but all of them +are included in \verb|musixtex.zip|, and will be placed in the proper locations +if you have followed the installation instructions for \musixtex. - \noindent and the {\tt musixtex.bat} command can be +The two following batch files reside in the same dir as \texttt{musixdoc.tex} (or \texttt{musixdoc114.tex}). -% It makes no sense to state -mt20000, perhaps this is useful for MusicTeX, -% (it uses hyphenation to break a line) but not for MusiXTeX (it uses musixflx) +This batch file makes a DVI, Postscript and PDF file, then displays the Postscript file. +The full path names are shown as a comment. +{\small \begin{quote}\begin{verbatim} -if exist %1.tex goto tex -goto end - -:tex -if exist %1.mx1 del %1.mx1 -if exist %1.mx2 del %1.mx2 -tex386 -mt20000 &musixtex %1 %2 %3 %4 %5 %6 %7 %8 %9 - -if errorlevel 2 goto end +rem filename: lapdfview +LATEX.EXE %1 %2.tex +if errorlevel 1 goto end +makeindex -l %1 +rem C:\musixtex\system\musixflx\win32\musixflx %1 musixflx %1 - +LATEX.EXE %1 %2.tex if errorlevel 1 goto end -tex386 -mt20000 &musixtex %1 %2 %3 %4 %5 %6 %7 %8 %9 - +rem C:\"Program Files\MiKTeX 2.7"\miktex\bin\DVIPS.EXE -e0 -t a4 -P pdf -G0 %1.dvi +DVIPS.EXE -e0 -t a4 -P pdf -G0 %1.dvi +rem C:\"program files"\gs\gs8.63\bin\gswin32c -dBATCH ^ +rem -dNOPAUSE -sDEVICE=pdfwrite -r600 \ +rem -sOutputFile=%1.pdf -c save pop -f %1.ps +gswin32c -dBATCH -dNOPAUSE -sDEVICE=pdfwrite -r600 ^ +-sOutputFile=%1.pdf -c save pop -f %1.ps +pause +rem C:\"program files"\Ghostgum\gsview\gsview32.exe %1.ps +gsview32.exe %1.ps +rem pause :end - \end{verbatim}\end{quote} -\end{enumerate} - -\begin{flushright}\it -Don't expect a perfect package or miracles.\\ -There will be enough unexpected miracles.\\[\smallskipamount] -{\sc Eberhard Mattes} -\end{flushright} - -\chapter{Examples} - Due to compatibility problems with \LaTeX\ (used to produce this notice) -large examples must be \TeX -ed separately, i.e.\ using plain \TeX{} and not -\LaTeX. Therefore, the \musixtex\ future user is suggested to produce some of -the following examples and to look carefully at the way some special features -have been coded. - - When producing this examples, care should be taken about the fact -that several given files are supposed to be included (by means of -\keyindex{input}) in other files. Thus the only good files to be directly -\TeX-ed are those which begin with \verb|\input musixtex| or - \verb|% \input musixtex|. This latter command is often commented out so that -the examples can be run either using a \musixtex\ format including {\tt -musixcpt.tex} and {\tt musixsty.tex} --- namely the format generated by {\tt -musixtex.ins} --- or using a \musictex\ format including {\tt musictrp.tex}, -{\tt musicvbm.tex} and {\tt musicsty.tex} --- namely the format generated by -{\tt musixtex.ins}. - -In addition, it must be noted that most DVI previewers and laser printers have -their origin at one inch below and one inch right of the right upper corner -of the paper, while the musical examples have their upper left significant -corner only at one centimeter right and below the left top of the paper. -Therefore, special parameters have to be given to the DVI transcription -programs unless special \keyindex{hoffset} and \keyindex{voffset} \TeX\ -commands are introduced within the source \TeX\ text. - -\section{Clean \musixtex\ examples} - -\begin{itemize} - \item{\tt avemaria.tex} to get the ``M\'editation'' (alias ``Ave Maria'') by -Charles {\sc Gounod} for organ and violin or song in clean \musixtex-input. -\index{Gounod, C.@{\sc Gounod, C.}} - \item{\tt traeumer.tex} to get the famous ``Tr\"aumerei'' by -Robert {\sc Schumann} for piano, in genuine \musixtex-input but with some -additions to perform ascending \itxem{crescendos}. -\index{Schumann, R.@{\sc Schumann, R.}} - \item{\tt parnasum.tex} to get the first page of ``Doctor gradus ad -Parnassum'' by Claude {\sc Debussy} for piano.\index{Debussy, -C.@{\sc Debussy, C.}} - \item{\tt glorias.tex} to get a local melody for the French version of -\ital{Gloria in excelsis Deo}, showing use of lyrics commands. {\tt -gloriab.tex} is the same, with organ accompaniment. - \item Other clean \musixtex\ examples seem to be no more compatible with -the present version, but they should be updated in a near future. -\end{itemize} - -These examples are packed (zipped) in the {\ttxem{musixexa.zip}} file of the -\musixtex\ distribution. - -\section{Nearly compatible \musictex\ examples} - -These are examples using not only {\tt musixtex} but also {\tt musixcpt} and -{\tt musixsty}, which means their coding is easily understandable for -\musictex{} previous users. However, they cannot be run as is with \musictex, -since a few specific commands have been included, either for spacing, or for -oblique slurs. They are given in {\tt musixexa.zip}, for example: - - \begin{itemize} - \item {\tt gymnoman}~: an imitation of Erik {\sc Satie}'s -\ital{Gymnop\'edies}\index{Satie, E.@{\sc Satie, E.}}, - \item {\tt canticor.tex}/{\tt canticox.tex}~: -a famous tune by Georg Friedrich {\sc Haendel}\index{Haendel, G.F.@{\sc -Haendel, G.F.}}, - \item {\tt ilfaitda.tex}/{\tt ilfaitdx.tex}~: a famous choral by J.-S. -{\sc Bach}\index{Bach, J.S.@{\sc Bach, J.S.}} adapted with French lyrics for -French churches, - \item {\tt widor\_20.tex}~: the famous toccata for organ by Charles-Marie {\sc -Widor}\index{Widor, C.M.@{\sc Widor, C.M.}} in 10 pages (more compact than -commercial editions, and easier to play if nobody can turn the pages), and -{\tt widor\_16.tex} which is the same in 16~pt size, i.e. more compact. - \item{\tt souveni*.tex}~: a nice French tune of the fifties, by Oreste {\sc -Rossi} and Fernand {\sc Capitani} with several transpositions. - \item {\tt marcello.tex}~: the adagio of Benedetto {\sc -Marcello}\index{Marcello, B.@{\sc Marcello, B.}}'s oboe concerto, transcribed -for organ. - \item {\tt hymnepas.tex}~: a modern Eastern canticle by A. {\sc Gouzes} and -{\sc Palestrina}, showing heavy use of \keyindex{hardlyrics} for choral -music.\index{Gouzes, A.@{\sc Gouzes, A.}} - - \end{itemize} - -\section{Compatible \musictex\ examples} - -They are all the examples provided in the \musictex\ distribution. To run them -the easiest way is to have both a {\tt musictex} and a {\tt musixtex} format as -described in \ref{formatbuild}. Otherwise, insert - - \verb|\input musixtex| - - \verb|\input musixcpt| - - \verb|\input musixsty| - - \noindent at the beginning of each example, and \TeX\ it. - - \section{Looking at examples before installing \musixtex} - - Most of the above examples (and some others) are posted, ready to print, as -PostScript files in: - \begin{itemize} - \item {\tt ftp://hprib.lps.u-psud.fr/pub/music\_scores.zip/*/*/*.zip} (zipped -PostScript 300dpi files) - \item {\tt ftp://hprib.lps.u-psud.fr/pub/music\_scores.gz/*/*/*.ps.gz} (gzipped -PostScript 300dpi files) - \end{itemize} - - Printing them on any PostScript printer (needs A4 paper) is a good means of -getting an overview of \musixtex's capabilities. +\end{verbatim}\end{quote} +} +This batch file searches the folder for tex files and calls \texttt{lapdfview.bat} +{\small +\begin{quote}\begin{verbatim} +rem latexall.bat +rem proces all files with extension tex in this directory +for /F %%I in ('dir /B *.tex') do call lapdfview.bat %%~nI +pause +\end{verbatim}\end{quote} +} -\printindex +Thus, to produce \texttt{musixdoc.pdf}, double click on \texttt{latexall.bat}. \clearpage {\parindent0pt @@ -8054,7 +9125,9 @@ number instead of the pitch}% % % clefs % -\setclefsymbol1\empty \nostartrule\contpiece +\setclefsymbol1\empty +%\setlines 11\relax +\nostartrule\contpiece \NOtes \zchar{13}{\bs trebleclef}\zchar0\trebleclef\sk \zchar9{\bs altoclef}\zchar0\altoclef\sk @@ -8070,6 +9143,7 @@ number instead of the pitch}% % % Rests % +\setlines 15\relax \resetclefsymbols\startrule\contpiece \NOtes \multnoteskip{.5}% @@ -8175,6 +9249,34 @@ number instead of the pitch}% \rightrepeat \NOtes \loffset2{\zchar{-4}{\bs rightrepeat}}\en -\endpiece\eject}% +\endpiece\advance\textheight-40mm\eject% \endmuflex +} + +%\makeatletter +%\renewenvironment{theindex}{\newpage +% \addcontentsline{toc}{chapter}{Index}% +% \pagestyle{plain} +% \let\item\@idxitem +% \parskip\z@ \@plus .3\p@\relax +% \begin{multicols}{2}[{\Huge\bfseries Index} ] +% \par\bigskip}% +%{\end{multicols}}% +%\makeatother +%\printindex + +\makeatletter +\renewenvironment{theindex}{\newpage + \setcounter{secnumdepth}{-1} + \chapter[Index]{}\vspace*{-3cm} +% \addcontentsline{toc}{chapter}{Index} + \pagestyle{plain} + \let\item\@idxitem + \parskip\z@ \@plus .3\p@\relax + \begin{multicols}{3}[{\Huge\bfseries Index} ] + \par\bigskip}% +{\end{multicols}}% +\makeatother + \printindex + \end{document} diff --git a/Master/texmf-dist/doc/generic/musixtex/musixflx.1 b/Master/texmf-dist/doc/generic/musixtex/musixflx.1 deleted file mode 100644 index 6b6c7ae50a1..00000000000 --- a/Master/texmf-dist/doc/generic/musixtex/musixflx.1 +++ /dev/null @@ -1,36 +0,0 @@ -.\" musixflx.1 -.\" Written by Andreas Tille for the Debian GNU/Linux -.\" distribution but might be useful for others, too. -.\" This manpage is licensed under the GNU Public License -.TH MUSIXFLX 1 - -.SH NAME -musixflx \- preprocess mx1 files - -.SH SYNOPSIS -.B musixflx -.I "[debugmode] jobname.mx1" - -.SH "DESCRIPTION" - -Optionally, you can add a letter to indicate one of the debug modes, which are: - - d for debug information to screen -.br - f for debug information to file jobname.mxl -.br - s to get the computed lines immediately on screen - -To allow for ease of use with a batch file, \fB musixflx\fR -can either be fed with \fI jobname.mx1\fP, \fI jobname.tex\fP -or only \fI jobname\fP, all of which opens \fI jobname.mx1\fP. - -.SH SEE ALSO -musixtex(1) -.br -/usr/share/doc/musixtex/musixdoc.ps on a Debian GNU/Linux system - - -.SH AUTHOR -This manual page was written by Andreas Tille -for the Debian GNU/Linux system (but may be used by others). diff --git a/Master/texmf-dist/doc/generic/musixtex/musixlyr/README.musixlyr b/Master/texmf-dist/doc/generic/musixtex/musixlyr/README.musixlyr new file mode 100644 index 00000000000..bbf9abd9bea --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/musixlyr/README.musixlyr @@ -0,0 +1,74 @@ + + musixlyr -- a MusiXTeX Extension Package for Lyrics Handling + Version 2.1c + + (C) Rainer Dunker 1996-2003 + + +musixlyr is a set of TeX macros to be used with Taupin MusiXTeX +(version T.52 or later) for typesetting vocal music. Its purpose is +to compensate two drawbacks of MusiXTeX's lyrics handling: + + o Typesetting lyrics with the ``native'' MusiXTeX commands \zcharnote, + \zsong etc. tends to be quite inefficient, particularly if the + lyrics have to be changed or corrected. The idea underlying + musixlyr is to separate lyrics coding from music coding and let TeX + weave them together with as little manual interference as + possible. As a result you can enter and edit lyrics (nearly) as + easily as normal text. + + o MusiXTeX has no built-in mechanism for centering hyphens between + syllables and for handling hyphenation at long melismas. This is + implemented in musixlyr following the example of engraved music. + + +New in version 2.1: + + o \appendlyrics: Appends additional lyrics to existing lyrics line + without discarding the remainder of the current lyrics + + o A couple of bugs fixed + + +New in version 2.0: + + o Support for lyrics on multi-staff instruments + + o Melisma declaration as part of the lyrics definition, + i.e. within \setlyrics + + o Improved scheme for vertical lyrics positioning + + o Using PMX: Automatic detection of upper/lower voice context in + a two-voice staff; explicitly addressing lyrics commands to + auxiliary lyrics with \auxlyr is no longer required + + o Context-dependent lyrics settings that do not need to be + adressed to absolute instrument/staff numbers, making lyrics + assignment robust against PMX part extraction + + o No more TeX register allocations per verse + (i.e. musixlyr uses only a small, fixed number of registers) + + o Facility for posting "extra" lyrics anywhere on a staff, + even where no notes are present at all + + o Slightly more robust processing of undefined verses + + +See the included file mxlyrdoc.dvi about how to make use of musixlyr. +This DVI file has been created using MusiXTeX T.103. If you have +another version installed, the music examples of the manual may be +corrupted due to font incompatibilities. Nevertheless, the rest of +the manual will remain readable so that you will be able to install +musixlyr and recompile the mxlyrdoc.tex file in order to get +everything right. + +All kinds of comments, suggestions, and bug reports are welcome! + +Author: Rainer Dunker + Wachtelweg 31 + 85591 Vaterstetten + Germany + + E-mail: rainer.dunker@web.de diff --git a/Master/texmf-dist/doc/generic/musixtex/musixlyr/README.underbracket b/Master/texmf-dist/doc/generic/musixtex/musixlyr/README.underbracket new file mode 100644 index 00000000000..4345cb63fdc --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/musixlyr/README.underbracket @@ -0,0 +1,64 @@ +LaTeX package underbracket + +draws brackets to underline (song) text + +v1.2 by Bernd Jantzen +For e-mail contact please use "ctan" before the "@"-sign +and "bernd-jantzen.de" after it to form my address +(not given in full clear text here to prevent spam). + +This package draws brackets to underline text (especially, +but not exclusively, syllables of song text). +It may be combined with musixtex/musixlyr, within the argument of +the \setlyrics command or outside the music score. +It provides several macros to define brackets which may e.g. start +and end centered below syllables. +Three length variables are provided to allow a fine adjustment +of the bracket parameters. + +This material is subject to the LaTeX Project Public License. +See http://www.ctan.org/tex-archive/help/Catalogue/licenses.lppl.html +for the details of that license. + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + +Commands: + +\underbracket{TEXT} + draws a bracket underlining TEXT + the bracket starts below the left end of TEXT + and stops below the right end of TEXT + +\Underbracket{TEXT} + like \underbracket, but reserves no vertical space below the text + +\cunderbracket{LEFT}{TEXT}{RIGHT} + draws a bracket underlining LEFTTEXTRIGHT + the bracket starts centered below LEFT and stops centered below RIGHT + +\cUnderbracket{LEFT}{TEXT}{RIGHT} + like cunderbracket, but reserves no vertical space below the text + + +The commands \[c]underbracket do well in normal text which is aligned +according to the baseline. The vertical space reserved below the text +guarantees the distance to the next line. +The commands \[c]Underbracket do well within the \setlyrics command of +musixlyr where the text is vertically centered between the staves. Vertical +space reserved below the text would shift the whole text upwards here. + + +Adjustable length parameters: +(change e.g. with \setlength{\underbracketheight}{4pt}) + +\underbracketwidth (default 0.3pt): + linewidth of the bracket + +\underbracketheight (default 3pt): + height of the bracket (length of the vertical lines) + +\underbracketsep (default 2pt): + vertical distance between the lowest part of the text + and the upper end of the bracket; + also minimal vertical distance below the bracket + diff --git a/Master/texmf-dist/doc/generic/musixtex/musixlyr/examples/nonmoriar.dvi b/Master/texmf-dist/doc/generic/musixtex/musixlyr/examples/nonmoriar.dvi new file mode 100644 index 00000000000..bafd467dd6f Binary files /dev/null and b/Master/texmf-dist/doc/generic/musixtex/musixlyr/examples/nonmoriar.dvi differ diff --git a/Master/texmf-dist/doc/generic/musixtex/musixlyr/examples/nonmoriar.pdf b/Master/texmf-dist/doc/generic/musixtex/musixlyr/examples/nonmoriar.pdf new file mode 100644 index 00000000000..d23648bb6a3 Binary files /dev/null and b/Master/texmf-dist/doc/generic/musixtex/musixlyr/examples/nonmoriar.pdf differ diff --git a/Master/texmf-dist/doc/generic/musixtex/musixlyr/examples/nonmoriar.tex b/Master/texmf-dist/doc/generic/musixtex/musixlyr/examples/nonmoriar.tex new file mode 100644 index 00000000000..4f0c45a12f3 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/musixlyr/examples/nonmoriar.tex @@ -0,0 +1,23 @@ +\input musixtex +\input musixlyr + +\generalmeter\allabreve +\generalsignature2 +\nobarnumbers +\scale{0.9} +\setlyrics{latin} {Non mo-ri-ar sed} +\setlyrics{german}{Ich wer-de nicht ster-ben, son-dern} +\assignlyrics1{latin,german} +\setsongraise1{-1.5mm} +\startextract + \znotes\verses{,\lyrlayout{\it}}\en + \NOTEs\wh{'a}\en\bar + \NOTes\verses{\beginmel}\ha{'b}\verses{\endmel}\ha a\en\bar + \NOtesp\beginmel\qup{'a}\en + \Notes\ca{'b}\en + \NOtes\verses{,\endmel}\qa{'c}\verses{,\beginmel}\itieu0d\qa d\en\bar + \NOtes\ttie0\qa{'d}\endmel\qa c\en + \NOtes\verses{\beginmel}\ha{'d}\en\bar + \NOTes\verses{\endmel}\ha{'ee}\en +\endextract +\bye diff --git a/Master/texmf-dist/doc/generic/musixtex/musixlyr/mxlyrdoc.dvi b/Master/texmf-dist/doc/generic/musixtex/musixlyr/mxlyrdoc.dvi new file mode 100644 index 00000000000..5c6cfc34948 Binary files /dev/null and b/Master/texmf-dist/doc/generic/musixtex/musixlyr/mxlyrdoc.dvi differ diff --git a/Master/texmf-dist/doc/generic/musixtex/musixlyr/mxlyrdoc.pdf b/Master/texmf-dist/doc/generic/musixtex/musixlyr/mxlyrdoc.pdf new file mode 100644 index 00000000000..be0b5bbf898 Binary files /dev/null and b/Master/texmf-dist/doc/generic/musixtex/musixlyr/mxlyrdoc.pdf differ diff --git a/Master/texmf-dist/doc/generic/musixtex/musixlyr/mxlyrdoc.tex b/Master/texmf-dist/doc/generic/musixtex/musixlyr/mxlyrdoc.tex new file mode 100644 index 00000000000..e5b897cc882 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/musixlyr/mxlyrdoc.tex @@ -0,0 +1,1876 @@ +%% +%% mxlyrdoc.tex: Manual for the MusiXTeX lyrics package musixlyr +%% +%% Copyright (C) 1996-2003 Rainer Dunker +%% +%% This document is free software; you can redistribute it and/or modify +%% it under the terms of the GNU General Public License as published by +%% the Free Software Foundation; either version 2 of the License, or +%% any later version. +%% +%% This document is distributed in the hope that it will be useful, +%% but WITHOUT ANY WARRANTY; without even the implied warranty of +%% MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the +%% GNU General Public License for more details. +%% +%% You should have received a copy of the GNU General Public License +%% along with this document; if not, write to the Free Software +%% Foundation, Inc., 675 Mass Ave, Cambridge, MA 02139, USA. +%% +%% Author: +%% Rainer Dunker +%% Wachtelweg 31 +%% 85591 Vaterstetten +%% Germany +%% +%% E-mail: rainer.dunker@web.de +%% +\documentclass[twoside]{article} +\usepackage{musixtex,multicol,makeidx} + +\input musixlyr + +\textwidth210mm \advance\textwidth-2in % These format settings +\textheight297mm \advance\textheight-2in % can be freely changed! +\advance\textheight-\headheight \advance\textheight-\headsep +\footskip0pt \topmargin0pt \evensidemargin0pt \oddsidemargin0pt + +\pagestyle{headings} +\parskip0.5ex plus 0.25ex minus 0.25ex +\parindent0pt +\sloppy + +\nobarnumbers +\smallmusicsize + +% +% command index +% +\makeatletter +\renewenvironment{theindex} + {\let\item\@idxitem + \begin{multicols}{2} + \parskip0pt} + {\end{multicols}} +\def\printcmd#1{{\tt\char92 #1}} +\def\ci#1{\printcmd{#1}\bci{#1}} +\def\bci#1{\index{#1@\printcmd{#1}}} % "blind" command index entry +\makeindex + +\let\myqnwidth\qn@width +\makeatother + +\def\musixlyr{{\tt musixlyr}} +\def\PMX{{\bf PMX}} +\def\var#1{\hbox{$\langle$#1$\rangle$}} +\def\oneversespace{\par\vspace*{2mm}} +\def\twoversesspace{\par\vspace*{7mm}} + + + + +\begin{document} + + +\title{\musixlyr\ --- a \musixtex\ Extension Package for Lyrics Handling + (Version 2.1c)} +\author{\copyright\ Rainer Dunker 1996--2003\\ + {\tt rainer.dunker@web.de}} +\maketitle +\thispagestyle{empty} + + +{\small\sl (The page layout of this document is tailored to A4 paper + format, but the text width and height can be freely changed in order + to meet other paper sizes; no part of the layout relies on a + particlular size.)\/} + +{\parskip0pt\tableofcontents} + + + +\section{Introduction} + + +\subsection{Basic concepts} + +\musixlyr\ is a set of \TeX\ macros to be used with Taupin \musixtex\ +(version T.52 or later) for typesetting vocal music. Its purpose is +to compensate two drawbacks of \musixtex's lyrics handling: +\begin{itemize} + \item Typesetting lyrics with the ``native'' \musixtex\ commands + \verb|\zcharnote|, \verb|\zsong| etc.\ tends to be quite + inefficient, particularly if the lyrics have to be changed or + corrected. The idea underlying \musixlyr\ is to separate lyrics + coding from music coding and let \TeX\ weave them together with as + little manual interference as possible. As a result you can enter + and edit lyrics (nearly) as easily as normal text. + \item \musixtex\ has no built-in mechanism for centering hyphens between + syllables and for handling hyphenation at long melismas. This is + implemented in \musixlyr\ following the example of engraved music. +\end{itemize} + + + +\subsection{New since version~2.0} + +\musixlyr~2.0 provides the following major enhancements: +\begin{itemize} + \item Support for lyrics on multi-staff instruments + $\longrightarrow$~section~\ref{multi-staff-instruments} + % + \item Melisma declaration as part of the lyrics definition, + i.\,e.~within \ci{setlyrics} + $\longrightarrow$~section~\ref{melismas} + % + \item Improved scheme for vertical lyrics positioning + $\longrightarrow$~section~\ref{vertical-positioning} + % + \item Facility for posting lyrics anywhere on a staff, even where no + notes are present at all + $\longrightarrow$~section~\ref{lyric*-verse-numbers} +\end{itemize} + +These new features are especially interesting when \musixlyr\ is used in +conjunction with \PMX: +\begin{itemize} + \item Automatic detection of upper/lower voice context in + a two-voice staff; explicitly addressing lyrics commands to + auxiliary lyrics with \ci{auxlyr} is no longer required + $\longrightarrow$~section~\ref{auxlyr-attachment} + % + \item Context-dependent lyrics settings that do not need to be + adressed to absolute instrument/staff numbers, making lyrics + assignment robust against part extraction + $\longrightarrow$~section~\ref{assignment-by-context} +\end{itemize} + +Finally, a few improvements have been made that do not bear explicit +new features but work rather behind the scenes: +\begin{itemize} + \item No more \TeX\ register allocations for each verse name newly + defined by \ci{setlyrics} or \ci{copylyrics}; the use + of those registers has been replaced by macros. + % + \item Due to the abandoned per-verse register allocations, the + \ci{enableauxlyrics} command is obsolete. It is retained for the + sake of backward compatibility, but it has no effect. + % + \item Slightly more robust processing of undefined verses. An error + is raised immediately when an undefined verse is assigned to a + staff/instrument, and the undefined verse name is implicitly + defined as having empty lyrics. This avoids obscure errors in later + stages of \TeX\ processing. +\end{itemize} + +The current version~2.1c is mainly a bugfix version of~2.0, with a few +functional additions: +\begin{itemize} + \item Possibility to add additional lyrics to an existing lyrics + definition without discarding the remainder of the current lyrics + line contents; useful if lyrics are defined in several portions + spread over the score (see~\ref{appendlyrics}). + \item The \musixlyr\ version is identified by the predefined macro + \verb|\musixlyrversion|, enabling other \TeX\ code to check for + version compatibility (according to a suggestion by Dirk Laurie). +\end{itemize} + +Suggestions for other useful things are welcome. + + + +\subsection{Backward incompatibility issues} + +The following properties make \musixlyr\ versions~2.$x$ incompatible +to earlier versions: +\begin{itemize} + \item + It is no longer possible to represent ``empty syllables'' by + empty \TeX\ environments `\verb|{}|' within \ci{setlyrics}; see + also section~\ref{empty-syllable}. + % + \item + Within \ci{setlyrics}, the underscore character has got a + special meaning and thus can no longer be used as usual; see + section~\ref{melismas-by-underscores}. + % + \item + By default, auxiliary lyrics are now placed vertically {\em + above\/} (no longer below) the staff they are assigned to; see + section~\ref{auxlyr-vertical-position-default}. +\end{itemize} + + +The following bugfix of \musixlyr~2.1b also implies a slight backward +incompatibility: +\begin{itemize} + \item + At the beginning of a music line (system), lyrics have often been + right-shifted because \musixlyr\ has assumed MusiXTeX's horizontal + ``zero'' position as the left boundary for lyrics positioning. Now, + lyrics are allowed to extend into the left margin as far as + required for centered placement under/above the note. + + Although this is a more ``natural'' behaviour, it may lead to + collisions between lyrics and other stuff (like dynamic marks) that + have not occurred using older \musixlyr\ versions. In such a case, + there are two ways to solve the problem: + % + \begin{itemize} + \item Restore the former \musixlyr\ behaviour globally by saying + \begin{quote} + \ci{oldlyrlinestart} + \end{quote} + near the top of your score source. + % + \item Right-shift the colliding lyrics where necessary using + \ci{lyroffset} (see~\ref{lyroffset}). + \end{itemize} + \end{itemize} + + + +\subsection{Restrictions} + +\begin{itemize} + \item \musixlyr\ does not influence the \musixtex/{\tt musixflx} + spacing algorithm in order to make the notes spacing dependent on + the space requirements of the lyrics. See section~\ref{horizpos} + about how spacing problems are handled. + % + \item \musixlyr\ seems to work correctly in my preferred working + environment, but I cannot exclude problems in situations I have + not undergone (especially concerning the use of \musixtex\ + preprocessors, the \musixtex\ extension library, and past or + future \musixtex\ releases). Thus it is important that you point out + encountered bugs and incompatibilities to me; there is little + chance that I notice them on my own. + + Please do also bother me if you find this manual --- or parts of + it --- incomprehensible or incomplete. +\end{itemize} + + + +\section{Installation} + +Put the {\tt musixlyr.tex} file into a directory that is included in +your \verb|TEXINPUTS| search path --- that's all. (Refer to your local \TeX\ +documentation for details on this.) + + + +\section{Usage} + +Before using \musixlyr\ macros, state +\begin{quote}\verb|\input musixlyr|\end{quote} +near the beginning of your source file but {\bf after} the +\verb|\input musixtex| (\LaTeX: \verb|\usepackage{musixtex}|) +command. + + + +\subsection{Entering lyrics} + + +\subsubsection{Lyrics as lines of words} + +As opposed to the ``vertical'' music construction of +\musixtex, \musixlyr\ treats lyrics ``horizontally'' as {\em lyrics +lines.\/} Each separate ``thread'' of words is a separate lyrics +line; thus, in the following example\footnote{Excerpt from +``Tourdion'' by {\sc Pierre Attaignant} ({\sl ars +musica\/} vol.\,4, M\"oseler Verlag Wolfenb\"uttel/Z\"urich)}, + +\begin{music} + \setlyrics{soprano} + {Quand je bois du vin clai-ret, a-mi tout} + \setlyrics{alto}{Le bon vin nous} + \setlyrics{tenor}{Bu-vons bien, bu-vons mes a-mis,} + \copylyrics{tenor}{bass} + \assignlyrics4{soprano} + \assignlyrics3{alto} + \assignlyrics2{tenor} + \assignlyrics1{bass} + \setsongraise3{-1.5mm} + \small + \instrumentnumber4 + \generalsignature2 + \generalmeter{\meterfrac32} + \setclef1\bass + \songtop4 + \songbottom1 + \sepbarrules + \startextract + \NOtes\wh{`e}\sk\sk\sk\ha e&% + \wh g\sk\sk\sk\ha e&% + \wh b\sk\sk\sk\ha b&% + \qa{efg'a!gf}\en\bar + \NOTesp\wh{`e}&\wh{'b}&\wh e&\hup e\en + \NOtes\sk\ha{`e}&\sk\ha{'b}&\sk\ha e&\qa{fg'a}\en + % force hyphens of incomplete words: + \def\atnextbar{\znotes\lyric{}&\lyric{}\en}% + \endextract +\end{music} +\oneversespace + +there are four lyrics lines notwithstanding that two of them consist +of the same words. + +Note that the number of lyrics lines does not depend on the number +of staves: Any number of lyrics lines (including none) can be attached +to each staff (more about multiple lyrics lines per staff in +section~\ref{multilyrlines}). + + +\subsubsection{Setting up a lyrics line} + +A lyrics line is set up using the command +\begin{quote} + \ci{setlyrics}\verb|{|\var{name}\verb|}{|\var{words}\/\verb|}| +\end{quote} +where \var{name} is a name\footnote{This name must not contain +backslashes or commas. Most other characters do not cause problems; +however, it is safer to use only letters and digits.} for the lyrics +line (e.\,g.\ the name of the voice singing these lyrics) and +\var{words} is the complete text where multi-syllable words must be +given {\bf hyphenated.} For example, the soprano lyrics of the above +example are set as follows: +\begin{quote} + \bci{setlyrics} + \begin{verbatim} +\setlyrics{soprano}{Quand je bois du vin clai-ret, a-mi tout}\end{verbatim} +\end{quote} + +Important notes on using \ci{setlyrics}: +\begin{itemize} + \item + Within the lyrics definition, spaces and hyphens are used to + split the whole text into words or syllables. If you want a space + or hyphen appear {\em within\/} a word/syllable, use the command + \verb|\space| or \ci{lyrhyphenchar}, respectively, instead. + \item + \label{empty-syllable}% + If you want the lyrics attachment to skip over a note, + i.\,e.~a certain note shall not receive a syllable, you may + achieve this by inserting an empty syllable in the \var{words} + text. However, neither a ``really empty'' syllable (i.\,e.~two + consecutive separating spaces) nor an empty environment \verb|{}| + will work, but you may use either \verb|{\empty}| or + \verb|\empty{}| for this. + + Normally, the \ci{nolyr} command (discussed later in this + manual) should be used for this purpose, but an empty syllable may + be more handy if it occurs in only one of multiple assigned + verses; see also sections~\ref{melismas-by-underscores} + and~\ref{multilyrlines}. + \item + Note that, since lyrics lines are cut into pieces which are + processed separately, you cannot apply things like temporary font + changes in the usual manner (i.\,e.~using \TeX\ + environments). See section~\ref{layoutpar} about how to accomplish + layout changes. + \item + Applying \ci{setlyrics} to an already defined \var{name} + redefines the lyrics line. This may be useful at very long pieces + because setting up and applying lyrics in smaller portions + (e.\,g.\ movement by movement) saves both time and memory. + \item + It is possible to specify melismas --- that shall occur later when + a verse is attached to the music --- already within + \ci{setlyrics}; see section~\ref{melismas-by-underscores} for + details. + +\end{itemize} + +There are two variants of the \verb|\setlyrics| command available: +\begin{itemize} + \item + If several voices have the same lyrics, you do not have to copy + and paste the lyrics for each further voice; just say + \begin{quote}\ci{copylyrics}\verb|{|\var{from name}% + \verb|}{|\var{to name}\verb|}|\end{quote} + to set up a lyrics line named \var{to name} with the same contents + as \var{from name}. + \item + Applying \ci{setlyrics} to an already defined \var{name} + has the effect of discarding all previous contents of \var{name}, + even if part of the lyrics is still pending for being + processed. If you want to {\em append\/} further lyrics to an already + existing lyrics line instead --- without interrupting the + processing of the current lyrics contents ---, use the command + \label{appendlyrics} + \begin{quote} + \ci{appendlyrics}\verb|{|\var{name}\verb|}{|\var{words}\/\verb|}| + \end{quote} + instead of \verb|\setlyrics|. + % A warning about performance loss due to \appendlyrics's material + % accumulation may be added here; it should occur only if \golyr + % jumps to or near to the lyrics beginning are performed. +\end{itemize} + + +\subsubsection{Assigning lyrics lines to staves} + +{\bf Note:} During the following discussion, the term {\em staff\/} is +used wherever \musixtex\ would precisely use the term {\em +instrument\/} instead, assuming that lyrics are posted to single-staff +instruments only. However, everything also applies to the assignment +of lyrics to staves of multi-staff instruments; see +section~\ref{multi-staff-instruments} about how to use lyrics in a +multi-staff instrument context. + +To assign a lyrics line to a staff, say +\begin{quote}\ci{assignlyrics}\verb|{|\var i% + \verb|}{|\var{name}\verb|}|\end{quote} +where \var i is the instrument number (counted as usual from bottom to +top) and \var{name} the name of the lyrics line. + +The resulting assignment can be redefined everywhere. This is useful +if the arrangement of voices on staves changes within the score; when +a voice is continued on a different staff at the next system, use +\ci{assignlyrics} (preferrably enclosed in \verb|\atnextline{...}|) to +make the respective lyrics line follow this change without +interrupting the flow of words. + +If a lyrics line is assigned to instrument \var i and you want it to be +continued on a different instrument while assigning no other lyrics line +to instrument \var i, you must explicitly cancel the former assignment by +saying \ci{assignlyrics}\verb|{|\var i\verb|}{}|. + +{\bf Caution:} Never assign a lyrics line to more than one +staff simultaneously; if the same lyrics are needed at +several staves in parallel, use \ci{copylyrics} (see above). + +As a summary of this section, here is the complete ``lyrics +definition section'' of the above example: +\begin{quote} + \bci{setlyrics} + \bci{copylyrics} + \bci{assignlyrics} + \begin{verbatim} +\setlyrics {soprano}{Quand je bois du vin clai-ret, a-mi tout} +\setlyrics {alto} {Le bon vin nous} +\setlyrics {tenor} {Bu-vons bien, bu} +\copylyrics{tenor} {bass} +\assignlyrics4{soprano} +\assignlyrics3{alto} +\assignlyrics2{tenor} +\assignlyrics1{bass}\end{verbatim} +\end{quote} + +See also section~\ref{assignment-by-context} about an alternative way +to assign lyrics to staves. + + + +\subsection{Managing the attachment of lyrics to notes} +\label{manipulation} + + +\subsubsection{Automatic lyrics attachment} +\label{auto-attachment} + +By default, the syllables of a lyrics line are consecutively attached to +all {\em spacing\/} notes of the assigned staff. Chords thus receive only +one syllable since they usually contain exactly one spacing note. +However, this may be different if you are using auxiliary lyrics; +see section~\ref{auxlyrics} for details. + +``Spacing'' in this context means: generated by one of the commands +\verb|\qu|, \verb|\hu|, \verb|\wh|, etc.\ and not by \verb|\zqu|, +\verb|\zhu|, \verb|\zq|, etc. Spacing or not does {\em not\/} depend on +whether the note-generating command is enclosed in \verb|\znotes| or +any other \verb|\notes| command. So if any note seems to have been +left out by the attachment automatism, first make sure that this +note is generated using a command not beginning with \verb|\z|. + +If the number of words of a lyrics line gets exhausted before all +notes of the respective staff are processed, ``???'' is posted at all +remaining notes. + + +\subsubsection{Addressing manipulations to lyrics} + +In the ``ideal'' case, the attachment automatism perfectly distributes the +lyrics over the music. In practice, however, situations in which the +automatism must be ``helped'' manually are frequent. Such +manipulations must be posted within the music code. Here are the +basic rules: +\begin{enumerate} + \item All lyrics manipulations must be stated inside + \verb|\notes...\enotes|. + (Exception: melisma specifications within \verb|\setlyrics|, see + section~\ref{melismas-by-underscores}). + \item Lyrics manipulations solely refer to the lyrics line(s) + attached to the current staff (``current'' with respect to the + enclosing `\verb|&|' characters). + \item Similar to many other \musixtex\ commands (e.\,g.\ for beams + and slurs), lyrics manipulations must be issued before the + corresponding note commands. +\end{enumerate} +Examples in the following sections will illustrate the application. + + +\subsubsection{Melismas} +\label{melismas} + +Regarding lyrics and music separately, melismas are no property of +either one; instead, they characterize the relation between both and +play a role only where music and lyrics occur together. Using +\musixlyr, however, lyrics coding and music coding are basically +unrelated, but melismas do have to be specified somewhere. You have to +decide yourself whether you regard melismas as an attribute rather of +the lyrics or rather of the music (this may vary according to the type +of score you are preparing, or may even differ within a score); +\musixlyr\ provides two corresponding styles of melisma specification +which are discussed in the following paragraphs. + +\begin{description} + \item[Melismas as a music property.] + Within the music code, a melisma is initiated and terminated by the + command pair + \begin{quote} + \hspace*{\fill}\ci{beginmel}\hfill\ci{endmel}\hspace*{\fill} + \end{quote} + issued before the first and last note, respectively, of the melisma. + This left-justifies the current word/syllable, suspends lyrics until + after the melisma, and sets up a ``word extension + underline''\footnote{I am not sure whether this is the appropriate + term; it is taken from the {\sl Finale\/} reference manual.} unless + the current word is continued afterwards and thus has to be + hyphenated. For example, + + \begin{music} + \resetlyrics + \instrumentnumber1 + \small\scale{0.6} + \setlyrics{melismatic}{a me-lis-ma} + \assignlyrics1{melismatic} + \startextract + \NOtes\beginmel\qa{def}\endmel\qa e\en\bar + \NOtes\beginmel\qa{def}\endmel\qa g\en\bar + \NOtes\beginmel\qa{'a!gf}\endmel\qa e\en\bar + \NOtes\beginmel\qa{defe}\en\bar + \NOTEs\endmel\wh d\en + \endextract + \end{music} + \oneversespace + + has been coded as: + \begin{quote} + \bci{beginmel} + \bci{endmel} + \begin{verbatim} +... +\NOtes\beginmel\qa{def}\endmel\qa e\en\bar +\NOtes\beginmel\qa{def}\endmel\qa g\en\bar +\NOtes\beginmel\qa{'a!gf}\endmel\qa e\en\bar +\NOtes\beginmel\qa{defe}\en\bar +\NOTEs\endmel\wh d\en +...\end{verbatim} + \end{quote} + If a system break occurs within the melisma, hyphenation or underline + is continued at the next system, thus automatic line breaking is + applicable. + + \item[Melismas as a lyrics property.] + \label{melismas-by-underscores} + To specify a melisma within a lyrics definition (i.\,e.~within + \ci{setlyrics} or \ci{appendlyrics}), simply append an underscore + character to a syllable to make it span over an additional note, + two underscores to span over two additional notes, and so + on. Alternatively, you may append to a syllable a single underscore + followed by a number which denotes the number of {\em additional\/} + melisma notes: \verb|abc_| is equivalent to \verb|abc_1|, + \verb|abc__| to \verb|abc_2|, and so on. + + No matter which of the two underscore appendix styles you use: If a + melismatic syllable is hyphenated to the following one, the melisma + denotation must {\bf precede} the hyphen --- for example: + \verb|abc__-def| ({\bf not:} \verb|abc-__def|). + + All melisma properties mentioned above (lyrics suspension, left + justification of syllable, word extension underline, system break + support) also apply to melismas specified this way. For reference, + here is the lyrics definition section of the example above, this time + utilizing the underscore melisma technique (note that, in this case, + all \ci{beginmel} and \ci{endmel} commands must be omitted in the + music section): + + \begin{quote} + \ci{setlyrics}\verb|{melismatic}{a___ me_3-lis___-ma_4}| + \end{quote} + + \item[Comparing both points of view.] + The music-oriented melisma view (using \ci{beginmel}/\ci{endmel}) is + advantageous for music with a rather loose binding to certain lyrics, + e.\,g.~folk songs that are to be printed with various verse compilations + or in different languages. You may then enter each verse without + taking care of melismas because they are coded just once as part of + the music. + + On the other hand, the lyrics-focused melisma style (using + underscores) is best suited to pieces with a fixed lyrics-to-music + binding; it is easier to type and to read, but less flexible as + regards combining the same lyrics with different music. It is + especially advantageous for multiple verses (see + section~\ref{multilyrlines}) with different syllables-to-notes + distribution (see verse~3 of the ``Drunken sailor'' example in + section~\ref{versenumbers}); it is much easier to code each verse's + melismas individually than tracking all melismas in parallel using + the \ci{verses} command (see again section~\ref{multilyrlines}). + + \item[Note.] + You may use both styles within the same score but you should avoid + activating both melisma types simultaneously at the same lyrics line; + the result of such an occurrence is undefined. +\end{description} + + +\subsubsection{Turning automatic lyrics attachment on/off} + +If the attachment automatism is unsuitable for some +situation --- e.\,g.\ at complex polyphonic voicings or wherever you +want to place all syllables manually --- you can turn it off using +\begin{quote}\ci{lyricsoff}\end{quote} +after the last note that shall get a syllable. (If your piece begins +with a lyrics-less section, state \ci{lyricsoff} before the first +note of a staff.) To re-enable automatic lyrics attachment, use +\begin{quote}\ci{lyricson}\end{quote} +before the first note that shall get a syllable. + +If automatic lyrics attachment shall skip over certain single notes +only, the \ci{nolyr} command is more suitable (see +section~\ref{nolyr-command}). + + +\subsubsection{Lyrics repetition and skipping} + +As in the following example of a polyphonic piece, + +\begin{music} + \resetlyrics + \instrumentnumber2 + \setclef1\bass + \songtop2 + \songbottom1 + \small + \setlyrics{amen1} + {\llabel{amenlabel}A-men!} \assignlyrics1{amen1} + \copylyrics{amen1}{amen2} \assignlyrics2{amen2} + \startextract + \NOtes% lower staff: + \itenu0K\beginmel\wh K\sk\sk\sk + \midslur2\tten0\endmel\hlp K&% + % upper staff: + \qa f\lyrnop\lyrpt,\qa g% + \golyr{amenlabel}\lclyr\qa h\lyrnop\lyrpt,\qa{_i}% + \golyr{amenlabel}\lclyr\beginmel\islurd1h\qa{hg}% + \tslur1f\endmel\qa f\en + \NOTEs\wh N&\wh g\en + \endextract +\end{music} +\oneversespace + +it often happens that some lyrics phrases are repeated by some but +not all voices, or that each voice has its individual arrangement of +lyrics repetitions. Nevertheless, you do not have to enter +these repetitions directly within \ci{setlyrics}; instead, you +enter the lyrics as if they were performed in an unbroken +sequence. Repetitions and skips are then handled using a ``go to'' +technique involving the following steps: +\begin{description} + \item[Labelling ``go to'' targets.] A syllable which has to be jumped at + must be preceded (without spaces in between) by + \begin{quote}\ci{llabel}\verb|{|\var{label name}\verb|}|\end{quote} + within \ci{setlyrics}. + \item[Performing jumps.] Within the music code, say + \begin{quote}\ci{golyr}\verb|{|\var{label name}\verb|}|\end{quote} + before the note at which the jump has to be performed. + + {\bf Caution:} If you try to jump to an undefined lyrics label, no + meaningful error message is produced. However, if \TeX\ reports an + error at a \ci{golyr} command, you should check conformity of + defined and used labels. +\end{description} +The following actions must be taken in special cases: +\begin{description} + \item[Adding punctuation marks.] Usually a comma or period is + appended to the word preceding a jump; this is done by the command + \begin{quote}\ci{lyrpt}\var{punctuation char}\end{quote} + where \var{punctuation char} can be any single punctuation + character. + \item[Removing punctuation marks.] Before adding a punctuation mark + to a word as said above, an already existing punctuation mark + should be removed by the command: + \begin{quote}\ci{lyrnop}\end{quote} + \item[Lower case letters.] Words at jump targets often begin with a + capital letter which should appear lower case after a jump; + this can be forced by the command: + \begin{quote}\ci{lclyr}\end{quote} +\end{description} +Here is a code excerpt from the above example, summarizing the use of +all mentioned commands: +\begin{quote}\small + \bci{llabel} + \bci{copylyrics} + \bci{setlyrics} + \bci{lyrnop} + \bci{lyrpt} + \bci{golyr} + \bci{lclyr} + \bci{beginmel} + \bci{endmel} + \begin{verbatim} +\setlyrics{amen1} + {\llabel{amenlabel}A-men!} \assignlyrics1{amen1} +\copylyrics{amen1}{amen2} \assignlyrics2{amen2} +\startextract + \NOtes% lower staff: + \itenu0K\beginmel\wh K\sk\sk\sk + \midslur2\tten0\endmel\hlp K&% + % upper staff: + \qa f\lyrnop\lyrpt,\qa g% + \golyr{amenlabel}\lclyr\qa h\lyrnop\lyrpt,\qa{_i}% + \golyr{amenlabel}\lclyr\beginmel\islurd1h\qa{hg}% + \tslur1f\endmel\qa f\en + \NOTEs\wh N&\wh g\en +\endextract\end{verbatim} +\end{quote} +Note that the ``go to'' technique is recommendable mainly if different +voices perform different repetitions or skips on the same lyrics; if +all voices perform the same sequence of repetitions, however, it is +easier to hard-code them within \ci{setlyrics}. + + +\subsubsection{Miscellaneous} +\label{miscmanip} + +\begin{description} + \item[Excluding single notes.] + \label{nolyr-command}% + In the following situation, + + \begin{music} + \resetlyrics + \instrumentnumber1 + \setlyrics1{ca-den-za} + \assignlyrics11 + \startextract + \NOtes\zqlp{'c}\qu e\en + \Notes\qu{'d}\nolyr\cl b\en + \bar + \NOTes\zhl{'c}\hu c\en + \endextract + \end{music} + \oneversespace + + the eighth note must be excluded from receiving a syllable. This + can be accomplished saying + \begin{quote}\ci{nolyr}\end{quote} + before the command generating this note. + \item[Manual lyrics posting.] When automatic lyrics attaching is + switched off, a word or syllable can be placed manually saying + \begin{quote}\ci{lyr}\end{quote} + before the command generating the note that shall get this + word/syllable. + + This command also works independently from a following note command; + you can issue it before a rest, a \verb|\sk| or even alone for + itself in order to place a word/syllable wherever you want (no + matter whether the attachment automatism is on or off). + + Manipulations to the posted word/syllable have to be placed {\em + before\/} the \ci{lyr} command. + \item[Left justification.] Say + \begin{quote}\ci{llyr}\end{quote} + in order to have the next word/syllable left-justified to the + notehead instead of centered. + + If you prefer to have left justification as the default, say + \begin{quote}\ci{leftlyrtrue}\end{quote} + before your piece begins (\ci{leftlyrfalse} to restore centered + lyrics). + \item[Word extension underlines.] The melisma commands (see + \ref{melismas}) automatically manage word extension underlines; + however, they can be set manually: Say + \begin{quote}\ci{lyrrule}\end{quote} + before the respective note command to initiate an underline {\em + after\/} the word, and + \begin{quote}\ci{lyrruleend}\end{quote} + before the note where the underline shall be terminated. + + Note that no underline will be drawn if the word is continued + afterwards so that the underline would interfere with the + hyphenation. + \item[Horizontal offset.]\label{lyroffset}% + To shift a word/syllable out of its default + horizontal position, say + \begin{quote}\ci{lyroffset}\verb|{|\var n\verb|}|\end{quote} + which --- similar to \verb|\roffset| --- moves the next word/syllable + \var n quarter note head widths to the right (left if \var n + is negative). + + Note that the effect of \ci{lyroffset} may be overridden by + automatic lyrics shifting. If you want to gain complete manual + control over the positioning, you have to disable the shifting + automatism; see section \ref{horizpos} for details. + \item[Extra lyrics.] If, as in the following + example\footnote{Excerpt from ``In the town where I was born'' + ({\sl Eine kleine Melodie,\/} Strube, M\"unchen 1989)}, + + \begin{music} + \resetlyrics + \instrumentnumber2 + \generalsignature1 + \setclef1\bass + \songtop2 + \songbottom1 + \interinstrument=6mm + \setsongraise2{-0.5mm} + \scale{1.5} + \forcelyrhyphenstrue + \small + \setlyrics{lower}{yel-low sub-ma-rine,} \assignlyrics1{lower} + \copylyrics{lower}{upper} \assignlyrics2{upper} + \startextract + \Notes\ibl0N0\zqbp0N\ibu1N0\qbp1b&% + \ibl2f0\zqbp2d\ibu3g0\qbp3g\en + \notes\tbbl0\tbl0\zqb0N\tbbu1\tbu1\qb1b&% + \tbbl2\tbl2\zqb2d\tbbu3\tbu3\qb3g\en + \Notes\ibl0M0\zqbp0M\ibu1N0\qbp1b&% + \ibl2f0\zqbp2d\ibu3g0\qbp3g\en + \notes\tbbl0\tbl0\zqb0M\tbbu1\tbu1\qb1b&% + \tbbl2\tbl2\zqb2d\tbbu3\tbu3\qb3g\en + \Notes\ibl0L{-1}\zqbp0L\hu b&\zhl d\hu g\en + \notes\tbbl0\tbl0\lyric{ya,}\qb0K\en + \Notes\ibl0L1\lyric{ya,}\qbp0L\en + \notes\tbbl0\tbl0\lyric{ya,}\qb0M\en + \endextract + \end{music} + \oneversespace + + a voice has ``extra'' lyrics (such as ``hmm'', ``ah'', ``ya'', etc.) + in addition to the ``main'' lyrics, you need not enter them within + \ci{setlyrics} (which would inhibit using \ci{copylyrics}); + instead, you can enter them directly within the music code using + the command + \begin{quote}\ci{lyric}\verb|{|\var{extra syllable}\verb|}|\end{quote} + before the note where they shall appear. (Note that the effect is + different from using \verb|\csong| which would not apply automatic + hyphenation, horizontal positioning control, and \musixlyr's + vertical positioning scheme.) Automatic lyrics attaching --- if + active --- is suspended at that note. All manipulations can be + applied; they must be given before the \ci{lyric} command. + + If you want the syllable linked to the following one by a hyphen, + use \ci{lyrich} instead of \ci{lyric}. + + It may sometimes be necessary to post lyrics where no note is + present at all, i.\,e.~in the empty space between notes. This is, + however, possible with \verb|\lyric|, but is is unsuitable because + automatic lyrics attachment shall {\em not\/} be suspended at the + next note. In this case one of the commands \ci{lyric*} or --- for + hyphenated syllables --- \ci{lyrich*} should rather be used; they + have no effect on the ``regular'' flow of lyrics. + \label{lyric*-verse-numbers}% + One application for this are vertically aligned verse numbers. For + example, + + \begin{quote} + \bci{lyric*} + \bci{verses} + \begin{verbatim} +\setlyrics1{Spring time} +\setlyrics2{Au-tumn} +\assignlyrics1{1,2} +... +\znotes\loffset{2.2}{\verses{\lyric*{1.},\lyric*{2.}}}\en +\hardspace{4mm}% +\NOTes\hu{ee}\en +...\end{verbatim} + \end{quote} + + yields: + + \begin{music} + \resetlyrics + \setlyrics1{Spring time} + \setlyrics2{Au-tumn} + \assignlyrics1{1,2} + \lyrraise1{b -1.5mm} + \scale{1.2} + \startextract + \znotes\loffset{2.2}{\verses{\lyric*{1.},\lyric*{2.}}}\en + \hardspace{4mm}% + \NOTes\hu{ee}\en + \endextract + \twoversesspace + \end{music} + + (See section~\ref{multilyrlines} about attaching multiple verses + to a single staff, a feature that has not been introduced so far.) + + You may even obtain verse numbers that are repeated at the + beginning of each system by enclosing the \verb|\znotes...| command + for setting the numbers in \verb|\def\everystaff{...}|. + + Another possible application --- combined with empty syllables --- + is coping with unusual lyrics situations at voltas; for example, + + \begin{music} + \twoversesspace + \setlyrics1{first pass} + \setlyrics2{se-cond pass} + \assignlyrics1{1,2} + \resetlyrics + \scale{2} + \startextract + \NOTEs\wh g\en + \Setvolta1\def\atnextbar{\znotes\verses{,\lyric{}}\en}\bar + \NOTEs\wh g\en + \znotes\verses{,\lyrich*{}}\en \Setvolta2\setendvoltabox\rightrepeat + \NOTEs\verses\lyricsoff\pause\en\bar + \NOTEs\ha{gg}\en\setendvolta + \endextract + \twoversesspace + \end{music} + + is accomplished by: + + \begin{quote} + \bci{verses} + \bci{lyric} + \bci{lyrich*} + \begin{verbatim} +\setlyrics1{first pass} +\setlyrics2{se-cond pass} +\assignlyrics1{1,2} +\startextract + \NOTEs\wh g\en + \Setvolta1\def\atnextbar{\znotes\verses{,\lyric{}}\en}\bar + \NOTEs\wh g\en + \znotes\verses{,\lyrich*{}}\en + \Setvolta2\setendvoltabox\rightrepeat + \NOTEs\verses\lyricsoff\pause\en\bar + \NOTEs\ha{gg}\en\setendvolta +\endextract\end{verbatim} + \end{quote} + + The trick used here is to inject empty syllables into the second + verse at the barlines around the first volta; they serve as anchors + for the hyphenation suspended under this volta. + + Note that the \ci{lyric}, \ci{lyric*}, \ci{lyrich}, and + \ci{lyrich*} commands cannot be used at staves without assigned + lyrics lines. +\end{description} + + + +\subsection{Horizontal positioning} +\label{horizpos} + +\musixlyr\ takes care of blank space between words. If a word --- at +its default position --- would come too close to or overlap the +previous word, it is shifted right in order to ensure a minimum of +blank space. This minimal interword space can be set by +\begin{quote}\ci{minlyrspace}\verb|=|\var{any \TeX\ dimension}\end{quote} +and is initially set to~3\,pt. + +%The situation is different if two syllables belong to the same +%word. Such syllables are allowed to close up; only overlapping is +%inhibited by shifting. If the space between such syllables is +%narrower than a hyphen, the hyphen is omitted unless you force +%hyphens in every spatial situation saying +%\begin{quote}\verb|\forcelyrhyphenstrue|\end{quote} +%(to restore the default behaviour: \verb|\forcelyrhyphensfalse|). In +%this case, enough room is made for the hyphen by shifting the right +%syllable if necessary. + +\leavevmode\label{nicerhyphens}% +The situation is different if two syllables belong to the same +word. Such syllables are allowed to close up; only overlapping is +inhibited by shifting. If the ``natural'' space between such syllables is +narrower than a hyphen, the hyphen is omitted and the two syllables +close up completely (eventually by left-shifting the second syllable +to prevent a small gap). You may though force +hyphens in every spatial situation saying +\begin{quote}\ci{forcelyrhyphenstrue}\end{quote} +(to restore the default behaviour: \ci{forcelyrhyphensfalse}). In +this case, enough room is made for the hyphen by right-shifting the +second syllable if necessary. + +If the note spacing is quite narrow, lyrics shifting may get +accumulated within a system. In order to prevent shifting words too +far out of their original position, a wider note spacing should be +considered. The command +\begin{quote}\ci{showlyrshifttrue}\end{quote} +marks each lyric shift with a black rectangle of the respective +width, thus making it easy to detect questionable positionings. + +If you prefer to completely disable lyrics shifting, set +\ci{minlyrspace} to a large negative value (e.\,g.~$-10$\,cm). + + + +\subsection{Vertical positioning} +\label{vertical-positioning} + +By default, \musixlyr\ places lyrics vertically centered between the +two adjacent staves. Lyrics below the lowest or above the topmost +staff of a system are centered around the system's bottom or top +margin line.% +\footnote{This is not necessarily the most reasonable way, but it is + compatible to \musixtex's \printcmd{csong} behaviour.} + +In most scores, you will have to deviate from this standard and +manually adjust the lyrics' vertical position. This can be done per +staff with the command +\begin{quote} + \ci{lyrraise}\verb|{|\var n\verb|}|\verb|{|\var{pos}\var{raise}\verb|}| +\end{quote} +which applies the following setting to the lyrics attached to staff +number~\var n: \var{pos} is one of the letters \verb|a| +and~\verb|b|. \verb|a| sets the lyrics above the staff, \verb|b| below +the staff. \var{raise} is a dimension value by which the lyrics are +lifted above (or lowered under, if it is negative) the default +position as mentioned above. \ci{lyrraise}\verb|{|\var n\verb|}{b0pt}| +is the initial setting for all staves. + +It is possible to apply changes to the vertical position at any place +within the score, but in most cases it is most reasonable to do so +within \verb|\atnextline{...}| which ensures consistent, even spacing +within each system. + +For the sake of backward compatibility, applying \musixtex's command +\ci{setsongraise}\verb|{|\var n\verb|}{|\var{raise}\verb|}| +implicitly performs a +\ci{lyrraise}\verb|{|\var n\verb|}|\verb|{b|\var{raise}\verb|}|, +but not vice versa --- i.\,e.~\ci{lyrraise} has no effect on lyrics +set with \musixtex's lyrics commands \verb|\csong|, +\verb|\zsong|,~etc. Likewise, the obsolete \musixlyr\ command +\ci{auxsetsongraise} implies \verb|\auxlyr{\lyrraise...{b...}}|, but +not vice versa (see section~\ref{auxlyrics} to learn about the meaning +of \verb|\auxlyr|). + + + +\subsection{Setting lyrics layout parameters} +\label{layoutpar} + + +\subsubsection{Available parameters} + +\begin{description} + \item[Font:] There is no special font command; the current font is + used for lyrics. It can be changed using the usual \TeX/\LaTeX\ + commands. + \item[Minimum length of word extension underlines:] A word extension + underline is omitted if it would become too short. The minimum + length can be set by + \begin{quote}\ci{minlyrrulelength}\verb|=|\var{any \TeX\ dimension} + \end{quote} + and is initially set to~2\,mm. If you prefer to completely inhibit + the underlines, set this parameter to an unsurpassably high value + (e.\,g.~the width of your paper). + \item[Minimum inter-syllable distance for multiple hyphens:] If the + space between two hyphenated syllables (or between one of the + syllables and the respective system margin) is wider than this + distance, it is filled with a line of hyphens instead of a single + hyphen. The minimum distance to be filled with more than one + hyphen can be set by + \begin{quote}\ci{minmulthyphens}\verb|=|\var{any \TeX\ dimension}\end{quote} + and is initially set to~15\,mm. If you prefer to completely inhibit + filling with multiple hyphens, set this parameter to an + unsurpassably high value. + \item[Hyphen character:] This can be redefined by: + \begin{quote}\verb|\def|\ci{lyrhyphenchar}\verb|{|\dots\verb|}|\end{quote} +\end{description} +Further layout parameters discussed elsewhere are: vertical +positioning (section \ref{vertical-positioning}), word justification +(section \ref{miscmanip}), minimum interword distance, and forcing +hyphens (section \ref{horizpos}). + +{\bf Note:} In order to change the mentioned parameters globally, the +respective commands must be issued {\em outside\/} +\verb|\notes...\enotes|. + +\subsubsection{Individual settings per staff} +\label{indivlayout} + +All layout parameters can be set either globally (applying to all +lyrics lines) or individually, i.\,e.\ valid for a single specified staff. +An individual change is accomplished by enclosing the proper command +in +\begin{quote}\ci{lyrlayout}\verb|{|\dots\verb|}|\end{quote} +and issuing this within \verb|\notes...\enotes| in the section of the +referred-to staff. For example, +\begin{quote} + \verb|\notes...&|\ci{lyrlayout}\verb|{\it\leftlyrtrue}...&...\en| +\end{quote} +applies italic font and left justification to the lyrics line(s) +assigned to the second staff. + +Applying \ci{lyrlayout} to the same staff again overrides +{\em all\/} previous individual settings for this staff; +pay attention to this if you have made several individual settings and +want to reset some but retain others. Saying \ci{lyrlayout}\verb|{}| +restores the global settings for a staff. + +The \ci{lyrlayout} command can also be used within +\ci{setlyrics}; this is useful if an individual setting +(especially a font change) should apply to a particular +portion of lyrics rather than to a portion of music. For example, +\begin{quote} + \ci{setlyrics}\verb|{x}{An |\ci{lyrlayout}% + \verb|{\it}em-pha-sized\lyrlayout{} phrase}| +\end{quote} +causes the word ``emphasized'' to appear italic wherever it is posted +within the music. (Be sure to attach \ci{lyrlayout} commands to +the corresponding lyrics portions {\em without\/} blank spaces in +between.) + +{\bf As an exception,} the {\bf vertical positioning of lyrics} cannot be +changed within \ci{lyrlayout}; instead, it is handled staff-wise +using the special commands discussed in +section~\ref{vertical-positioning}. + + + +\subsection{Multiple verses per staff} +\label{multilyrlines} + +An arbitrary number of verses can be assigned to a staff +straightforwardly by saying +\begin{quote}\ci{assignlyrics}\verb|{|\var n\verb|}{|% + \var{names}\verb|}|\end{quote} +where \var{names} is a {\bf comma-separated list} of the desired +lyrics line names, listed from top to bottom. In the following +example\footnote{Excerpt from: ``Non moriar sed vivam'', motet by +{\sc Martin Luther}}, + +\begin{music} + \resetlyrics + \generalmeter\allabreve + \generalsignature2 + \scale{0.9} + \setlyrics{latin} {Non mo-ri-ar sed} + \setlyrics{german}{Ich wer-de nicht ster-ben, son-dern} + \assignlyrics1{latin,german} + \small + \setsongraise1{-1.5mm} + \startextract + \znotes\verses{,\lyrlayout{\footnotesize\it}}\en + \NOTEs\wh{'a}\en\bar + \NOTes\verses{\beginmel}\ha{'b}\verses{\endmel}\ha a\en\bar + \NOtesp\beginmel\qup{'a}\en + \Notes\ca{'b}\en + \NOtes\verses{,\endmel}\qa{'c}\verses{,\beginmel}\itieu0d\qa d\en\bar + \NOtes\ttie0\qa{'d}\endmel\qa c\en + \NOtes\verses{\beginmel}\ha{'d}\en\bar + \NOTes\verses{\endmel}\ha{'ee}\en + \endextract +\end{music} +\twoversesspace + +the lyrics lines have been set up as follows: +\begin{quote} + \bci{assignlyrics} + \begin{verbatim} +\setlyrics{latin} {Non mo-ri-ar sed} +\setlyrics{german}{Ich wer-de nicht ster-ben, son-dern} +\assignlyrics1{latin,german}\end{verbatim} +\end{quote} + + +\subsubsection{Handling verses individually} + +If you code lyrics attachment manipulations the way +described in section~\ref{manipulation}, these manipulations apply +{\em to all lyrics lines\/} of the referred staff {\em +simultaneously.\/} In order to address each lyrics line separately, +use the command +\begin{quote} + \ci{verses}\verb|{|\var{man1}\verb|,|\var{man2}\verb|,|\dots\verb|}| +\end{quote} +where \var{man1} is a sequence of commands to manipulate the upper +lyrics line, \var{man2} to manipulate the second lyrics line from +above, and so on. These command sequences may be empty. Delimiting +commas after the last non-empty list entry can be omitted. For example, +\begin{quote} + \ci{verses}\verb|{,,\beginmel,\golyr{abc}}| +\end{quote} +leaves the upper two lyrics lines unaltered, initiates a melisma at +the third, performs a jump to label {\tt abc} at the fourth, and +leaves all further ones (whatever their number may be) unaltered. As +another example, the font change for the german lyrics of the above +excerpt is accomplished by +\begin{quote} + \verb|\znotes|\ci{verses}\verb|{,\lyrlayout{\footnotesize\it}}\en| +\end{quote} +before the first note is coded. + + +\subsubsection{Vertical positioning} +\label{multiple-vert-pos} + +A block of multiple lyrics lines is vertically centered around the position +which a single lyrics line would have taken; thus you can do things +like + +{\small\setlyrstrut + \resetlyrics + \setlyrics{Winter1}{Win-ter a-de\rlap{,} a-ber dein Schei-den macht\rlap{,}} + \setlyrics{Winter2}{schei-den tut weh\rlap,} + \assignlyrics1{Winter1,Winter2} + \generalmeter{\meterfrac34} + \generalsignature2 + \setsongraise1{-2mm} + \startextract + \NOtes\qa{ffe}\en\bar + \NOTesp\hup d\en\rightrepeat + \assignlyrics1{Winter1}% + \NOtes\qa{fgh}\en\bar + \NOtes\qa h\en + \Notes\beginmel\Ibu0gf1\qb0g\endmel\tqh0f\en + \NOtes\qa g\en + \endextract} +\twoversesspace + +without having to adjust the vertical position within the +piece. (See the source of this manual for the coding of this +example.) + +\leavevmode\label{lyrstrut}% +The vertical distance between the baselines of multiple verses is +appropriate for the default 10~points font size of plain \TeX. +However, the size-switching commands \verb|\smalltype|, +\verb|\medtype|~etc.\ do not implicitly adjust the vertical distance +to the chosen font size. Since the vertical distance of lyrics is +controlled by the concept of a {\em lyrics strut\/}\footnote{In +analogy to \TeX's {\tt\char92 strut}; see {\sl The \TeX book\/} by +{\sc D.~E.~Knuth.}}, you should perform this adjustment explicitly with +the command +\begin{quote}\ci{setlyrstrut}\end{quote} +directly after each ``global'' font size change (i.\,e.~after each size +change not issued within \verb|\lyrlayout{...}|; +see~\ref{indivlayout}) unless you do not want the spacing to be +adjusted. (\TeX perts only: If you like to define your own vertical +spacing, you may redefine the \ci{lyrstrutbox} yourself.) + + + +\subsection{Auxiliary lyrics} +\label{auxlyrics} + +If you have typeset two voices of a polyphonic arrangement within one +staff, you normally want to give each voice its own lyrics lines. +Usually, the two voices are distinguished by means of the notes' stem +direction; the lyrics of the up-stemmed voice are typeset above, +those of the down-stemmed voice below the staff. \musixlyr\ +provides the facility to maintain such two lyrics ``streams'' per +staff; one of them --- which is handled exactly as described so +far --- will be called {\em main lyrics,\/} the second one {\em +auxiliary lyrics.\/} + + +\subsubsection{Addressing auxiliary lyrics} + +Only two rules are to be obeyed for directing commands to auxiliary lyrics: +\begin{enumerate} + \item Enclose everything concerning auxiliary lyrics in: + \begin{quote}\ci{auxlyr}\verb|{...}|\end{quote} + For example, assign lyrics line~{\tt verse1} to staff~2 as + auxiliary lyrics by: + \begin{quote}\ci{auxlyr}\verb|{\assignlyrics{2}{verse1}}|\end{quote} + For example, begin a melisma at the next note of the ``auxiliary'' voice by: + \begin{quote}\ci{auxlyr}\verb|{\beginmel}|\end{quote} + (For \TeX perts: If the argument of \ci{auxlyr} consists of + only one token, the braces can be omitted, so that + \verb|\auxlyr\beginmel| does the same.) + \item There are exactly two exceptions to the first rule. The first + one are the \ci{setlyrics}, \ci{appendlyrics}, and \ci{copylyrics} + commands which need not be enclosed in \ci{auxlyr}\verb|{...}|; + their function is independent of the later use of the defined + lyrics lines as either main or auxiliary lyrics. + + The second exception concerns lyrics commands issued as type-1 + \TeX\ strings in a \PMX\ source; see below for details. +\end{enumerate} + +\label{auxlyr-vertical-position-default}% +Auxiliary lyrics are lifted above the staff by default, i.\,e.~they have +the same vertical position as main lyrics belonging to the staff above +the current staff. If this causes collisions with the main lyrics of +the upper staff, you have to shift the lyrics away from each other +using the vertical spacing commands discussed in +section~\ref{vertical-positioning}. + + +\subsubsection{Automatic attachment of auxiliary lyrics} +\label{auxlyr-attachment} + +While it is easy to attach only one lyrics ``stream'' to a single +voice within a system automatically, the attachment of both main and +auxiliary lyrics involves the task of determining which note belongs +to which voice. Unfortunately, \musixtex\ does not explicitly state a +note's membership of a particular voice; therefore, a heuristic +method has to be used to gather this information. However, +the situation is completely different if you prepare your scores with +the \PMX% +\footnote{If you don't know what \PMX\ is, have a look at: + {\tt http://icking-music-archive.sunsite.dk/musixtex/software/pmx/}} +preprocessor. The following paragraphs explain managing the lyrics +attachment automatism for both cases --- \PMX\ and +non-\PMX\ --- separately. + + +\paragraph{Using \PMX.} +\label{pmx-autodetection} + +(This paragraph requires some \PMX\ knowledge.) For \PMX-prepared +scores (which \musixlyr\ detects automagically\footnote{% + This automatic \PMX\ detection may cause problems for processing + \PMX\ scores prepared with the \PMX-unaware \musixlyr\ + version~1.0. See section~\ref{no-pmx-autodetection} about how to + solve this backward-incompatibility issue. +}), the distinction +between the two voices of a staff works fully automatic. This applies +to both the automatic lyrics attachment as well as explicit lyrics +manipulations --- i.\,e.,~you do not have to use \ci{auxlyr}\verb|{...}| for +manipulating auxiliary lyrics. (This only applies to manipulations +that appear in a voice's context, i.\,e.~within a type-1 \TeX\ string.) +For reference, see the following example\footnote{Excerpt from +``Waldesnacht, du wunderk\"uhle'' by {\sc Johannes Brahms} ({\sl Eine +kleine Melodie,\/} Strube, M\"unchen 1989)}, + +\oneversespace +\begin{music} + \resetlyrics\small + \setlyrics{soprano}{all der ir-ren Qua-len los.} + \auxlyr{\assignlyrics1{soprano}} + \copylyrics{soprano}{alto} + \assignlyrics1{alto} + + \auxlyr{\lyrraise1{a -3\internote}} + \staffbotmarg5.5\Interligne + \stafftopmarg5\Interligne + \generalsignature2 + \lyrmodealter0 + + \startextract\addspace\afterruleskip + \scale{1.2}% + \NOtes\zhu{=j}\lower6\internote\qp\lifthpause{-3}\sk\qu h\en + \bar + \NOtes\auxlyr\beginmel\roffset{.8}{\isluru2j}\zhup f\lower8\internote\qp\en + \NOTes\hl{^d}\en + \NOTes\zql e\itieu0e\qu e\en + \bar + \NOtes\beginmel\islurd1c\zql c\ttie0\tslur2h\auxlyr\endmel\qu e% + \roff{\endmel\tsslur1d\zhl d}\qu{=d}% + \auxlyr\beginmel\itieu0d\hu d% + \ql d\en + \bar + \NOTes\zhl d\ttie0\auxlyr\endmel\hu d% + \zhl a\hu c\en + \bar + \NOTes\zhl a\fermataup l\hu d\hpause\en + \setdoubleBAR\endextract +\end{music} +\oneversespace + +which can be obtained by the following \PMX\ code (processed with +\PMX\ version~2.3): +\begin{quote} +\bci{auxlyr} +\begin{verbatim} +--- +\input musixtex % These commands are necessary +\input pmx % because pmx.tex MUST be \input +\input musixlyr % before musixlyr.tex! + +\setlyrics{soprano} % \setlyrics and \copylyrics + {all der ir-ren Qua-len los.} % need not be enclosed in +\copylyrics{soprano}{alto} % \auxlyr{...}. + +\assignlyrics1{alto} +\auxlyr{\assignlyrics1{soprano} + \lyrraise1{a 3\Interligne}} + +\let\BM\beginmel % For brevity within the subsequent +\let\EM\endmel % music coding recommended. +--- +1 1 4 4 0 0 3 2 0 5 20 0 + +t +./ + +% 1st and 2nd bar: +r4-6 r2-6 | r4-8 d24s e4 // +c25n a4 | \BM\ f2d s+4 \isu0e{.8}\ e4 / +% 3rd bar: +\BM\ c s \EM\ d2r s d4 // +\ts0e0\EM\ e s+3 dn \BM\ d2 s / +% 4th bar: + d2 a // % Note that \BM and \EM +\EM\ d s c / % apply either to main +% 5th bar: % or to auxiliary lyrics, +a r+0 // % depending on which voice +d of rb / % they appear in.\end{verbatim} +\end{quote} + +By default, main lyrics are attached to the lower voice (whose +lines end with \verb|//| in the \PMX\ source), auxiliary lyrics to the +upper voice; due to \PMX\ internals, this ensures that if only one +voice is present, main lyrics are attached to it. However, situations +exist in which it is desirable to have main lyrics attached to the +upper voice, e.\,g.~when you have only main lyrics and want to +synchronize them with the soprano voice instead of the alto voice +(both of them set on the same staff). In this case, you can toggle the +attachment of lyrics to voices with the command +\begin{quote}\ci{lyrmodealter}\verb|{|\var n\verb|}|\end{quote} for +staff number \var n; the command +\begin{quote}\ci{lyrmodenormal}\verb|{|\var n\verb|}|\end{quote} +restores the default behaviour. If $\hbox{\var n}=0$ then the change +affects all staves. + + +\paragraph{Using ``plain'' \musixtex\ without \PMX.} + +In this context, there are two basically different modes for lyrics +attachment: +\begin{enumerate} + \item In {\em normal mode\/} (which is active by default) only main + lyrics are provided automatically as described in + section~\ref{auto-attachment}. All auxiliary lyrics must be issued + manually by saying \ci{auxlyr}\ci{lyr} before the respective note. + This mode is useful when you do not have auxiliary lyrics at all + or when auxiliary lyrics occur only occasionally within the piece. + \item In {\em alternative mode\/}, both main and auxiliary lyrics + are provided automatically. The two voices of a staff are + distinguished by means of their notes' stem direction; the lower + voice gets main lyrics, the upper one auxiliary lyrics. This + implies that the automatism fails at stemless + notes\footnote{Ancient notes, namely breve, longa, and maxima, are + also treated as stemless notes by \musixtex's internals.}, thus you + have to provide lyrics manually by saying \ci{lyr} or + \ci{auxlyr}\ci{lyr}, respectively, before such notes. This mode is + meant for staves which continuously contain two polyphonic voices + with separate lyrics. +\end{enumerate} + +The appropriate mode can be chosen staff-wise: The command +\begin{quote}\ci{lyrmodealter}\verb|{|\var n\verb|}|\end{quote} +enables alternative mode for staff number \var n; the command +\begin{quote}\ci{lyrmodenormal}\verb|{|\var n\verb|}|\end{quote} +restores normal mode. As stated above, $\hbox{\var n}=0$ performs the +choice affecting all staves. + +For illustration, have a look at the following +example\footnote{Excerpt from ``Audite nova'' by {\sc Orlando di +Lasso} ({\sl ars musica\/} vol.\,4, M\"oseler Verlag +Wolfenb\"uttel/Z\"urich)}: + +\oneversespace +\begin{music} + \resetlyrics \small + \lyrmodealter0 + \setlyrics{soprano}{bring her die Gans,} \auxlyr{\assignlyrics1{soprano}} + \copylyrics{soprano}{alto} \assignlyrics1{alto} + + \generalsignature{-2} + \advance\stafftopmarg3\Interligne + \advance\staffbotmarg2\Interligne + + \startextract\addspace\afterruleskip + \NOtes\zqu g\ql e\en + \bar + \Notes\zqu i\beginmel\ibslurd0f\ibl0f{-1}\qb0f\en + \Notes\qb0e\en + \Notes\auxlyr\beginmel\ibsluru1i\zqup i\qb0d\en + \Notes\tqb0e\en + \Notes\endmel\tbslurd0e\ql c\en + \notes\ibbu0h{-1}\qb0h\en + \notes\tqh0g\en + \NOtes\auxlyr\endmel\tbsluru1h\zqu h\ql c\en + \bar + \NOTEs\auxlyr\lyr\zwh i% The lyrics of the whole notes + \lyr\wh b\en % must be given manually. + \endextract + \lyrmodenormal0 +\end{music} +\oneversespace + +The lyrics were defined as follows: +\begin{quote} + \bci{auxlyr} + \bci{assignlyrics} + \begin{verbatim} +\setlyrics{soprano}{bring her die Gans,} +\copylyrics{soprano}{alto} + +\assignlyrics1{alto} +\auxlyr{\assignlyrics1{soprano}} + +\lyrmodealter0 % provide main + aux. lyrics automatically\end{verbatim} +\end{quote} + +This is the complete notes section: +\begin{quote} + \bci{auxlyr} + \begin{verbatim} +\NOtes\zqu g\ql e\en +\bar +\Notes\zqu i\beginmel\ibslurd0f\ibl0f{-1}\qb0f\en +\Notes\qb0e\en +\Notes\auxlyr\beginmel\ibsluru1i\zqup i\qb0d\en +\Notes\tqb0e\en +\Notes\endmel\tbslurd0e\ql c\en +\notes\ibbu0h{-1}\qb0h\en +\notes\tqh0g\en +\NOtes\auxlyr\endmel\tbsluru1h\zqu h\ql c\en +\bar +\NOTEs\auxlyr\lyr\zwh i% The lyrics of the whole notes + \lyr\wh b\en % must be given manually.\end{verbatim} +\end{quote} + +Note that, as opposed to using \PMX, there is no special provision +for attaching main lyrics to the upper voice. If you desire a single +lyrics ``thread'' synchronized with the upper voice, please use +auxiliary lyrics instead and position them below the staff (see +section~\ref{vertical-positioning}). +Alternatively, you may use main lyrics in normal lyrics mode and code +the lower voice completely non-spacing (in the sense explained +in~\ref{auto-attachment}), the upper voice completely spacing; this +should not be too complicated for mainly homophonic pieces. + + + +\subsection{Lyrics at multi-staff instruments} +\label{multi-staff-instruments} + +So far in this manual, the term {\em staff\/} has always been used for +what \musixtex\ precisely calls an {\em instrument\/}. This section, +however, correctly adopts the \musixtex\ terminology. + +Lyrics can be assigned to staves of a multi-staff instrument. To do +so, use +\begin{quote} + \ci{assignlyricsmulti}\verb|{|\var i\verb|}{|\var s\verb|}{...}| +\end{quote} +instead of \verb|\assignlyrics...|; here, \var s~addresses the desired +staff number (counted from bottom to top) of instrument~\var i. + +Nevertheless, +\ci{assignlyrics}\verb|{|\var i\verb|}{...}| +can be used as well if instrument~\var i has multiple staves; in this +case, it is equivalent to +\verb|\assignlyricsmulti{|\var i\verb|}{1}{...}|, +i.\,e.~it affects only the first staff (and not all staves, as may be +presumed). + +In the same spirit, the following ``multi'' commands replace the +standard ones within a multi-staff instrument context: +\begin{quote} + \ci{lyrraisemulti}\\ + \ci{lyrmodenormalmulti}\\ + \ci{lyrmodealtermulti} +\end{quote} + +All other \musixlyr\ commands or features can be used the same way as +within a single-staff instrument context. + +Using lyrics at multi-staff instruments can be useful, for example, +for typesetting songs with piano accompaniment:% +\footnote{Example taken from songbook {\sl Am Brunnen vor dem Tore\/}, +Delphin Verlag M\"unchen/Z\"urich 1981} + +\begin{music} + \resetlyrics + \setlyrics{verse}{Gu-ter Mond, du gehst_ so_ stil_-le} + \assignlyricsmulti11{} + \assignlyricsmulti12{verse} + \lyrraisemulti12{b 2\internote} + \setstaffs12 + \generalsignature{-1} + \generalmeter\meterC + \setclef1\bass + \interstaff{13} + \scale{1.3} + \startextract + \Notes\qp|\ibl0j{-2}\qb0j\tqb0i\en + \bar\hardspace{1.7\myqnwidth}% + \NOtes\isluru1d\lq c\zq M\ql d|\qa h\en + \NOtes\zq c\zq M\ql e|\qa h\en + \Notes\lq c\zq M\ql d|\islurd0h\ibu0h2\qb0h\tslur0i\tqh0i\en + \Notes\tslur1e\zq c\zq M\ql e|\isluru0j\ibl0j2\qb0j\tslur0k\tqb0k\en + \bar\hardspace\myqnwidth + \Notes\isluru1d\lq c\zq M\ql d|\isluru0j\ibl0j{-2}\qb0j\tslur0i\tqb0i\en + \NOtes\zq c\zq M\ql e|\qa g\en + \NOtes\lq c\zq M\ql d|\qp\en + \znotes\midslur2\tsslur1d\en + \zendextract +\end{music} + +The lyrics of this example are defined as follows: +\begin{quote} + \bci{assignlyricsmulti} + \bci{lyrraisemulti} + \begin{verbatim} +\setlyrics{verse}{Gu-ter Mond, du gehst_ so_ stil_-le} +\assignlyricsmulti{1}{2}{verse} +\lyrraisemulti {1}{2}{b \internote}\end{verbatim} +\end{quote} + + + +\subsection{Managing lyrics assignment according to current context} +\label{assignment-by-context} + +Managing the properties of lyrics lines assignment to instruments by +absolute instrument numbers --- as it is done with the +\ci{assignlyrics}, \ci{lyrraise}, and \ci{lyrmodealter} +commands --- may cause difficulties whenever the score's number and +order of instruments shall be rearranged; in this case instrument +numbers change, thus the instrument number parameters of the +mentioned lyrics-related commands have to be adjusted. + +This is especially unpleasant where such a rearrangement is done +automatically, e.\,g.~by \PMX's part extraction facility {\em +scor2prt\/}; this is intended to work without any manual editing +of the generated part files. + +To address this issue, \musixlyr\ provides {\em context-dependent\/} +variants of the commands mentioned above. For example: Instead of +\verb|\assignlyrics{2}{soprano}|, you may say something like: +\begin{quote} + \verb|\notes...&|\ci{assignlyricshere}\verb|{soprano}...\en| +\end{quote} +\ci{assignlyricshere}\verb|{|\var{name(s)}\verb|}| assigns the given verse +\var{name(s)} to the instrument/staff whose context it occurs in within the +\verb|\notes...\en| construct; no absolute instrument/staff number needs to +be specified. + +For example, the following two code fragments are equivalent: + +\begin{quote} + \footnotesize + \hfill + \def\arraystretch{1}% + \begin{tabular}{l@{\qquad}|@{\qquad}l} + \begin{tabular}[t]{@{}l@{}} + \ci{assignlyrics}\verb| {1} {acct}%|\\ + \ci{assignlyricsmulti}\verb|{2}{2}{verse}%|\\ + \verb.\NOtes\qa c&\qa e|\qa g\en. + \end{tabular} + & + \begin{tabular}[t]{@{}l@{}} + \verb|\NOtes|\ci{assignlyricshere}\verb|{acct}\qa c%|\\ + \verb| &\qa e%|\\ + \verb. |.\ci{assignlyricshere}\verb|{verse}\qa g\en| + \end{tabular} + \end{tabular} + \hfill\strut +\end{quote} + +Using \PMX, the context-dependent commands must be given as type-1 +inline \TeX\ strings. Here is the same example, coded as \PMX input: + +\begin{quote} + \footnotesize + \hfill + \def\arraystretch{1}% + \begin{tabular}{l@{\qquad}|@{\qquad}l} + \begin{tabular}[t]{@{}l@{}} + \ci{assignlyrics}\verb| {1} {acct}\|\\ + \ci{assignlyricsmulti}\verb|{2}{2}{verse}\|\\ + \verb|c44 /|\\ + \verb|e44 /|\\ + \verb|g44 /|\\ + \end{tabular} + & + \begin{tabular}[t]{@{}l@{}} + \hphantom{\tt .NOtes.assignlyricshere.acct..qa cg.en}\\ + \\ + \ci{assignlyricshere}\verb|{acct}\ c44 /|\\ + \verb| e44 /|\\ + \ci{assignlyricshere}\verb|{verse}\ g44 /|\\ + \end{tabular} + \end{tabular} + \hfill\strut +\end{quote} + +The first one (left) results in wrong lyrics assignments in {\em +scor2prt\/} output; the second one (right) is robust against part +extraction. + +This is the complete set of ``here'' commands that can be applied the +same way: +\begin{quote} + \ci{assignlyricshere}\\ + \ci{lyrraisehere}\\ + \ci{lyrmodenormalhere}\\ + \ci{lyrmodealterhere} +\end{quote} + +All other \musixlyr\ commands are context-driven anyway, i.\,e.~using +the mentioned ``here'' commands you can completely omit any absolute +instrument/staff number assignment. + + + +\subsection{Miscellaneous} + +\subsubsection{Avoiding problems after {\tt\char92 + endpiece...\char92 startpiece}} + +Sometimes, after having suspended the music with \verb|\endpiece| and +restarted it with \verb|\startpiece| (or the respective +\verb|\...extract| commands), the lyrics lines are totally misaligned +because the internal lyrics positioning parameters are not reset +properly. Saying +\begin{quote}\ci{resetlyrics}\end{quote} +before the beginning of the new music section should solve this +problem. + + +\subsubsection{Improved centering of words with punctuation marks} + +Centered words with an attached punctuation mark often seem a bit +left-shifted since the punctuation mark also counts for the +centering. To have a word centered solely with respect to its +letters, enclose the punctuation mark in \verb|\rlap{...}| as it is +done in the example of section~\ref{multiple-vert-pos}. Unfortunately, +this circumvents the lyrics shifting automatism, and is incompatible +with the use of \ci{lyrnop}. + + +\subsubsection{Verse numbers} +\label{versenumbers} + +There is no special command for this topic. See the following example: + +\begin{music} + \resetlyrics + \generalmeter{\meterfrac24} + \scale{1.8} + \setlyrics{sailor1} + {\llap{1.} What shall we do with a drun-ken sail-or\rlap{?}} + \setlyrics{sailor2} + {\llap{2.} Take him and shake him and try to\lyrlink a-wake him,} + \setlyrics{sailor3}{\llap{3.} Give him a dose of_ salt and wa-ter,} + \setlyrics{sailor4}{\llap{4.} Give him a dash with a bo-som's rub-ber,} + \assignlyrics1{sailor1,sailor2,sailor3,sailor4} + \small\setlyrstrut + \setsongraise1{-6mm} + \startextract + \znotes\llyr\lyroffset{-2}% make the numbers stand off to the left + \lyr% post the numbers + \en + \Notes\ibu0h0\qb0h\en + \notes\nbbu0\qb0h\tqh0h\en + \Notes\ibu0h0\qb0h\en + \notes\nbbu0\qb0h\tqh0h\en\bar + \Notes\Dqbu hd\Dqbu fh\en + \endextract +\end{music} +\oneversespace +\twoversesspace + +To see how this is accomplished, look for the example's coding within +{\tt mxlyrdoc.tex}. + +Section~\ref{lyric*-verse-numbers} explains an alternative method for +setting vertically aligned verse numbers. + + +\subsubsection{``Lyrics slurs''} + +If two consecutive syllables of a lyrics line share the same note (as +in the second verse of the above example), you may want to link them +together with a small slur under them \mbox{like\lyrlink this.} To do +this, use the command \ci{lyrlink} instead of the respective blank +space within the \verb|\setlyrics| definition. + +If any of the adjacent characters extend under their \TeX\ baseline +(like `g', `j', `p', etc.), use \ci{lowlyrlink} which lowers the +slur accordingly (e.\,g.: \mbox{sing\lowlyrlink gladly}). + + +\subsubsection{Restoring the \PMX-unaware behaviour of \musixlyr~1.0} +\label{no-pmx-autodetection} + +As stated in section~\ref{pmx-autodetection}, \musixlyr\ distinguishes +between main and auxiliary lyrics context in a special way when it +detects that the score has been set up using \PMX. However, this +automatic \PMX\ detection may cause problems for processing \PMX\ +scores prepared with the \PMX-unaware \musixlyr\ version~1.0. To solve +this, you can force the old \musixlyr\ behaviour by an explicit macro +redefinition as follows: + +Within {\tt musixlyr.tex}, find the code fragment +\begin{quote}\begin{verbatim} +\ifx\nextvoice\undefined + \def\decide@lyrmode{% + \call@lyrmode + ... + \fi\fi\fi\fi\fi\fi\fi} +\else\end{verbatim}\end{quote} +(which is about 25 lines long). Copy it, exluding the first and the +last line, to your score source and surround it by the +\verb|\makeatletter...\makeatother| command pair. This +should then look like this: +\begin{quote}\begin{verbatim} +\makeatletter + \def\decide@lyrmode{% + \call@lyrmode + ... + \fi\fi\fi\fi\fi\fi\fi} +\makeatother\end{verbatim}\end{quote} + +To restore the \PMX-aware \musixlyr\ behaviour of version~1.1 and +newer, copy the {\em second\/} \verb|\decide@lyrmode| definition +from {\tt musixlyr.tex} to the desired place in your score and +surround it with \verb|\makeatletter...\makeatother|. + +To do these redefinitions within a \PMX\ input file, it is probably +always best to wrap them in macro definitions within the \PMX\ file +preamble. This way, you can switch between the ``old'' and ``new'' +\musixlyr\ behaviour by simply calling these macros in \PMX's +inline-\TeX\ style. + +\pagebreak[4] +\section{Command index} +\printindex + + + +\section{Software license} + +\musixlyr\ (including this manual) is free software; you can +redistribute it and/or modify it under the terms of the GNU General +Public License as published by the Free Software Foundation; either +version~2 of the License, or any later version. + +\musixlyr\ is distributed in the hope that it will be useful, +but WITHOUT ANY WARRANTY; without even the implied warranty of +MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the +GNU General Public License for more details. + +You should have received a copy of the GNU General Public License +along with \musixlyr; if not, write to the Free Software +Foundation, Inc., 675 Mass Ave, Cambridge, MA 02139, USA. + +\medskip +Author: +\begin{tabular}[t]{l} + Rainer Dunker\\ + Wachtelweg 31\\ + 85\,591 Vaterstetten\\[0.5ex] + Germany\\[1ex] + E-mail: \tt rainer.dunker@web.de +\end{tabular} + +\end{document} diff --git a/Master/texmf-dist/doc/generic/musixtex/musixre1.pdf b/Master/texmf-dist/doc/generic/musixtex/musixre1.pdf new file mode 100644 index 00000000000..6c418f505fc Binary files /dev/null and b/Master/texmf-dist/doc/generic/musixtex/musixre1.pdf differ diff --git a/Master/texmf-dist/doc/generic/musixtex/musixre1.tex b/Master/texmf-dist/doc/generic/musixtex/musixre1.tex new file mode 100644 index 00000000000..f600a9d0523 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/musixre1.tex @@ -0,0 +1,286 @@ +%format musix + +% version compatible with T103 12 Aug. 2001 D. Taupin + +%II 59.9 + +\input musixtex +%\input musixcpt +\input musixhou +\input musixper +\input musixlit +\input musixgre +\input musixext + +\parindent 0mm +\nopagenumbers\nobarnumbers + +\ifx\MusiXTeX\indefined\def\MusiXTeX{MusiX\TeX}\fi +%\centerline{\cmbxbig\MusiXTeX---Reference}\medskip +\centerline{\Bigfont\MusiXTeX---Reference}\medskip +\centerline{\bigfont Pitches}\medskip +\tt +\def\bs{\char92} +\setclef1{6000} +\afterruleskip2pt +\startmuflex\startpiece +% +% Pitches +% +\addspace\afterruleskip +\notes\wh{`ABCDEFG!ABCDEFGHIJKLMNabcde}\off{-26\noteskip}% + \zchar{14}{\llap`A}\sk + \zchar{14}{\llap`B}\sk + \zchar{14}{\llap`C}\sk + \zchar{14}{\llap`D}\sk + \zchar{14}{\llap`E}\sk + \zchar{14}{\llap`F}\sk + \zchar{14}{\llap`G}\sk + \zchar{14}A\sk + \zchar{14}B\sk + \zchar{14}C\sk + \zchar{14}D\sk + \zchar{14}E\sk + \zchar{14}F\sk + \zchar{14}G\sk + \zchar{-5}{\llap'A}\zchar{14}H\sk + \zchar{-5}{\llap'B}\zchar{14}I\sk + \zchar{-5}{\llap'C}\zchar{14}J\sk + \zchar{-5}{\llap'D}\zchar{14}K\sk + \zchar{-5}{\llap'E}\zchar{14}L\sk + \zchar{-5}{\llap'F}\zchar{14}M\sk + \zchar{-5}{\llap'G}\zchar{14}N\sk + \zchar{14}a\sk + \zchar{14}b\sk + \zchar{14}c\sk + \zchar{14}d\sk + \zchar{14}e\sk\en +\stoppiece\vskip-3\Interligne\setclef1{0000}\contpiece +\notes\wh{abcdefghijklmnopqrstuvwxyz}\off{-26\noteskip}% + \zchar{-8}a\sk + \zchar{-8}b\sk + \zchar{-8}c\sk + \zchar{-8}d\sk + \zchar{-8}e\sk + \zchar{-8}f\sk + \zchar{-8}g\sk + \zchar{-8}h\zchar{-4}{\llap'a}\sk + \zchar{-8}i\zchar{-4}{\llap'b}\sk + \zchar{-8}j\zchar{-4}{\llap'c}\sk + \zchar{-8}k\zchar{-4}{\llap'd}\sk + \zchar{-8}l\zchar{-4}{\llap'e}\sk + \zchar{-8}m\zchar{-4}{\llap'f}\sk + \zchar{-8}n\zchar{-4}{\llap'g}\sk + \zchar{-8}o\zchar{-4}{\llap{'\kern-2pt'}a}\sk + \zchar{-8}p\zchar{-4}{\llap{'\kern-2pt'}b}\sk + \zchar{-8}q\zchar{-4}{\llap{'\kern-2pt'}c}\sk + \zchar{-8}r\zchar{-4}{\llap{'\kern-2pt'}d}\sk + \zchar{-8}s\zchar{-4}{\llap{'\kern-2pt'}e}\sk + \zchar{-8}t\zchar{-4}{\llap{'\kern-2pt'}f}\sk + \zchar{-8}u\zchar{-4}{\llap{'\kern-2pt'}g}\sk + \zchar{-8}v\zchar{-4}{\llap{'\kern-2pt'\kern-2pt'}a}\sk + \zchar{-8}w\zchar{-4}{\llap{'\kern-2pt'\kern-2pt'}b}\sk + \zchar{-8}x\zchar{-4}{\llap{'\kern-2pt'\kern-2pt'}c}\sk + \zchar{-8}y\zchar{-4}{\llap{'\kern-2pt'\kern-2pt'}d}\sk + \zchar{-8}z\zchar{-4}{\llap{'\kern-2pt'\kern-2pt'}e}\sk\en +\stoppiece +\medskip\centerline{\bigfont Notes, Accidentals, Accents, Clefs and Rests} +\medskip +% +% Notes& Accidentals +% +\contpiece +\Notes + \zchar{-4}{Accidentals:}% + \zchar9{\bs zmaxima}\zmaxima i\sk + \zchar{12}{\bs zlonga}\zlonga i\sk + \zchar9{\bs zbreve}\zbreve i\sk + \zchar{12}{\bs zwq}\zwq i\sk + \zchar{12}{\bs wh}\wh i% + \zchar{12}{\bs hu}\zchar{-4}>\hu{>f}% + \zchar{12}{\bs hl}\loff{\zchar{-4}{\bs cdsh}}\cdsh l\hl l% + \zchar{12}{\bs qu}\zchar{-4}\^\qu{^f}% + \zchar{12}{\bs ql}\loff{\zchar{-4}{\bs csh}}\csh l\ql l% + \zchar{12}{\bs cu}\zchar{-4}=\cu{=f}% + \zchar{12}{\bs cl}\loff{\zchar{-4}{\bs cna}}\cna l\cl l% + \zchar{12}{\bs ccu}\zchar{-4}\_\ccu{_f}% + \zchar{12}{\bs ccl}\loff{\zchar{-4}{\bs cfl}}\cfl l\ccl l% + \zchar{12}{\bs cccu}\zchar{-4}<\cccu{ TeXMUSIX20-Regular + + typo correction. + musix.tex --> musix.map + +13-July-2001 + + First release. + +[End of CHANGES] diff --git a/Master/texmf-dist/doc/generic/musixtex/psfonts/README.psfonts b/Master/texmf-dist/doc/generic/musixtex/psfonts/README.psfonts new file mode 100644 index 00000000000..24c14c70735 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/psfonts/README.psfonts @@ -0,0 +1,114 @@ + PostScript (Type 1) Fonts for MusiXTeX + Ver 1.14 + + 28-September-2010 + + Takanori Uchiyama, uchiyama@appi.keio.ac.jp + +1. DESCRIPTION + +This package provides PostScript (type 1) fonts (PFB format), and dvips and +dvipdfm map files for MusiXTeX. The fonts are based on the original METAFONT +sources, such as musix20.mf, which are distributed with MusiXTeX. The fonts +provided here may be used to produce printer-independent Postscript files. PDF +files generated using type 1 fonts are well displayed by the Adobe Reader and +xpdf. + +The most of fonts were generated from the METAFONT sources in the TeX Live +CD 2000 July using TeXtrace 0.45 or mftrace 1.0.12 but musix11-20, xslhz20 +and xslhz20d were upgraded to those in musixtex-T102.tar.gz. +mxsk was generated from the METAFONT source in slur-ps package using mftrace +1.2.16. + +Here is a list of the 72 generated fonts. + +musix11.pfb xgreg24.pfb xsld29.pfb xslhd24.pfb xslhu24.pfb xslu20.pfb +musix13.pfb xgreg29.pfb xsld29d.pfb xslhd24d.pfb xslhu24d.pfb xslu20d.pfb +musix16.pfb xsld11.pfb xsldd20.pfb xslhd29.pfb xslhu29.pfb xslu24.pfb +musix20.pfb xsld11d.pfb xsldu20.pfb xslhd29d.pfb xslhu29d.pfb xslu24d.pfb +musix24.pfb xsld13.pfb xslhd11.pfb xslhu11.pfb xslhz20.pfb xslu29.pfb +musix29.pfb xsld13d.pfb xslhd11d.pfb xslhu11d.pfb xslhz20d.pfb xslu29d.pfb +musixsps.pfb xsld16.pfb xslhd13.pfb xslhu13.pfb xslu11.pfb xslud20.pfb +musixspx.pfb xsld16d.pfb xslhd13d.pfb xslhu13d.pfb xslu11d.pfb xslup20.pfb +xgreg11.pfb xsld20.pfb xslhd16.pfb xslhu16.pfb xslu13.pfb xslz20.pfb +xgreg13.pfb xsld20d.pfb xslhd16d.pfb xslhu16d.pfb xslu13d.pfb xslz20d.pfb +xgreg16.pfb xsld24.pfb xslhd20.pfb xslhu20.pfb xslu16.pfb xtie20.pfb +xgreg20.pfb xsld24d.pfb xslhd20d.pfb xslhu20d.pfb xslu16d.pfb +mxsk.pfb + +Note: musix25 and xgreg25 were not generated because they are not used in + musixgre.tex or musixtex.tex. + + +The control points were reduced with Fontographer. +The fonts were hinted automatically with Fontographer. musix11 - 29 were +hand tuned by Takanori Uchiyama. + +2. METHOD + +Most of fonts were generated using TeXtrace 0.45 running on Mac OS X 10.0.4. +xslz20 was generated using mftrace 1.0.12 running on Mac OS X 10.2.3. +mxsk was generated using mftrace 1.2.16 running on Mac OS X 10.6.4. +Thirty-two fonts were generated with the original traceall.sh script. Others +were generated with traceall.sh modified by Takanori Uchiyama. The modification +involved reducing resolution, corresponding to enlargement of "1 thou" in +traceall.sh. The following are lists of fonts that were generated with N-fold +thou scripts. + +twofold + musix11, musix13, xsld11, xsld11d, xsld13, xsld13d, xsld16, xsld16d, + xslhd13, xslhd13d, xslhd16, xslhd16d, xslhd20, xslhd20d, xslhd24d, + xslhu13, xslhu13d, xslhu16, xslhu16d, xslhu20, xslhu20d, xslhu24d, + xslu13, xslu13d, xslu16, xslu16d, xslud20 + +threefold + musixsps, musixspx, xslhd11, xslhd11d, xslhu11, xslhu11d, xslz20, xslz20d + +fivefold + xslhz20, xslhz20d, xtie20 + +The reason for reducing resolution is that METAFONT supports only limited +values of real numbers and so cannot generate very high resolution MusiXTeX +fonts. + +3. INSTALLATION + + 1) Make a directory such as $TEXMF/fonts/type1/musixtex, for PFBs. + 2) Copy all PFBs to the above directory; they should be readable by all users. + 3) Copy the map file ./dvips/musix.map to the appropriate directory, such as + $TEXMF/dvips/config + 4) Add a line + + p +musix.map + + to a suitable config.xxx file or, in a tetex-based distribution, add + musix.map to the list of map files for Type1 fonts with Metafont + equivalents in the updmap script, which should then be executed + by doing "./updmap". + 5) Do mktexlsr or texhash or whatever is necessary on your system to + re-generate the TeX database. + +Note: dvipdfm does not need a map file for these fonts because the PFBs' +names are identical to TFMs' names. + +When these fonts are used, type 1 fonts should also be used for non-music text; +for example, type 1 versions of the Computer Modern fonts are available. + +4. TODO + + + Hinting + + Modifying METAFONT sources to get high resolution outputs + +5. LICENSE + + The license of this package is LPPL. + +6. ACKNOWLEDGEMENTS + + Thanks to Dr. Daniel Taupin, Ross Mitchell and Andreas Egler for their +MusiXTeX package, to Dr. Peter Szabo for his excellent TeXtrace tool, +and to Dr. Han-Wen Nienhuys for his smart mftrace tool. +And thanks to Dr. Bob Tennent for his helpful comments, and to Mr. David +Fritzsche for his suggestions. + +[End of README] diff --git a/Master/texmf-dist/doc/generic/musixtex/psslurs/README.psslurs b/Master/texmf-dist/doc/generic/musixtex/psslurs/README.psslurs new file mode 100644 index 00000000000..22ab61cea5b --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/psslurs/README.psslurs @@ -0,0 +1,36 @@ +This package adds the PostScript slurs, ties and crescendos into MusiXTeX. +It is possible to use it in almost the same way as the original bitmapped +slur simply saying "\input musixps" at the beginning of your source file. +The resulting dvi file should be then converted into PostScript by dvips +(and then to PDF using ps2pdf, ghostscript or Adobe Distiller, if necessary). + +Please note that the slurs won't appear in any other dvi previewer, nor when +you use pdftex to produce the PDF file directly. + +The mxsk font is used for "half ties" - short breaked ties at the beginning of the line. +If you use \nohalfties, you do not need to install this font. +The musixps.tex should be placed anywhere TeX can find it, +prefferably into the musixtex directory. +Do not include it into your TeX format file! +The psslurs.pro should be placed somewhere dvips can find it. + +You can freely use or modify this package, but you are not allowed to distribute +any modified versions without my prior permission, or redistribute the package +without my name inside it. And of course, do not blame me for anything that goes +wrong... + +Stanislav Kneifl, +standa@hiero.cz + + +HISTORY +~~~~~~~ + +0.92 (12.5.2002) + added: \nosluradjust, \sluradjust, \notieadjust, \tieadjust + added: \slopebrkslurtrue, \slopebrkslurfalse + fixed: shaded slurs now do not break up to separate curves + at high resolutions + +0.91 (10.1.2002) + First public release, adopted from OpusTeX version. \ No newline at end of file diff --git a/Master/texmf-dist/doc/generic/musixtex/psslurs/slurs.pdf b/Master/texmf-dist/doc/generic/musixtex/psslurs/slurs.pdf new file mode 100644 index 00000000000..d2bc50629f6 Binary files /dev/null and b/Master/texmf-dist/doc/generic/musixtex/psslurs/slurs.pdf differ diff --git a/Master/texmf-dist/doc/generic/musixtex/psslurs/slurs.tex b/Master/texmf-dist/doc/generic/musixtex/psslurs/slurs.tex new file mode 100644 index 00000000000..037233fc7e5 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/psslurs/slurs.tex @@ -0,0 +1,77 @@ +\input musixtex +\input musixps + +\Nosluradjust +\Notieadjust + +\startmuflex + +\startpiece +\NOtes\qu{cdef}\isluru0k\qu{ghij}\en\bar +\NOtes\idecresc0\qu{cdefghij}\en +\alaligne +\NOtes\qu{cdefghij}\tcresc0\en\bar +\NOtes\tslur0h\qu{cdefghij}\en +\endpiece + +\startextract +\NOtes\islurd0g\qu g\tslur0{'c}\qu c\en +\Notes\isluru0{'e}\ibl0e{-2}\qb0{edc}\tslur0b\tqb0b\en +\bar +\NOtes\islurd0{'a}\qu a\tslur0{`f}\qu f\en +\NOTes\hu g\en +\endextract + +\startextract +\NOTes\isluru0g\hl g\tslur0h\hl h\en +\NOTes\islurd0c\issluru1g\zh{ce}\hu g\tslur0d\tsslur1h\zh{df}\hu h\en +\NOTes\ibsluru0g\islurd1g\hu g\tubslur0h\hu h\en +\NOTes\itieu0k\hl k\ttie0\tdbslur1k\hl k\en +\endextract + +\startextract +\NOTes\itenl0c\itenl1e\itenu2g\itenu3j\zh{ceg}\hu j\enotes +\bar +\NOTes\tten0\tten1\tten2\tten3\zh{ceg}\hu j\enotes +\endextract + +\generalmeter{\meterfrac34} +\startextract\NOTes\multnoteskip3\isluru0c\ql c\tslur0j\ql j\enotes + \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0n\ql n\enotes\endextract + +\startextract\NOTes\multnoteskip3\isluru0c\ql c\tslur0s\ql s\enotes + \bar\NOTes\multnoteskip3\isluru0c\ql c\tslur0z\ql z\enotes\endextract + +\instrumentnumber{1} +\generalmeter{\meterfrac34} +\startextract\NOTes\isluru0c\ql c\enotes\notes\tslur0j\ql j\enotes + \bar\NOTes\isluru0c\ql c\enotes\notes\tslur0n\ql n\enotes + \NOTes\isluru0c\ql c\enotes\notes\tslur0s\ql s\enotes + \bar\NOTes\isluru0c\ql c\enotes\notes\tslur0z\ql z\enotes + \endextract + +\startextract +\NOtes\dotted\islurd0g\qu g\tslur0{'c}\qu c\en +\Notes\dotted\isluru0{'e}\ibl0e{-2}\qb0{edc}\tslur0b\tqb0b\en\bar +\NOtes\dotted\slur hmd1\qu{hm}\en +\NOTes\hu g\en +\endextract + +\startextract +\NOtes\slur ced1\qu{ce}\en +\NOtes\slur dfd1\qu{df}\en +\NOtes\slur egd1\qu{eg}\en +\NOtes\slur{'e}cu1\ql{ec}\en +\NOtes\slur{'d}bu1\ql{db}\en +\NOtes\slur{'c}au1\ql{ca}\en +\endextract + +\startextract +\NOtes\ibu0g1\iBsluru00\qb0g\en +\NOtes\tBslur00\tbu0\qb0h\en +\NOtes\ibl0k1\iBslurd00\qb0k\en +\NOtes\tBslur00\tbl0\qb0l\en +\endextract + +\endmuflex +\end diff --git a/Master/texmf-dist/doc/generic/musixtex/sottieng.pdf b/Master/texmf-dist/doc/generic/musixtex/sottieng.pdf new file mode 100644 index 00000000000..9fee6c052d8 Binary files /dev/null and b/Master/texmf-dist/doc/generic/musixtex/sottieng.pdf differ diff --git a/Master/texmf-dist/doc/generic/musixtex/sottieng.tex b/Master/texmf-dist/doc/generic/musixtex/sottieng.tex new file mode 100644 index 00000000000..7028a807d31 --- /dev/null +++ b/Master/texmf-dist/doc/generic/musixtex/sottieng.tex @@ -0,0 +1,1075 @@ +\documentclass[12pt,twoside]{article} +\usepackage{a4} +\usepackage{musixtex} +\usepackage[english]{babel} +\usepackage{randtext} +\input coulhack +\raggedbottom +\setlength{\textwidth}{18cm} \setlength{\textheight}{26cm} +\setlength{\oddsidemargin}{0pt}\setlength{\evensidemargin}{0pt} +\setlength{\parindent}{0cm}\setlength{\parskip}{.5cm} +\setlength{\marginparwidth}{1in} \setlength{\marginparsep}{0pt} +\setlength{\hoffset}{-1cm} +\setlength{\voffset}{-2.5cm} +%\setlength{\headsep}{2cm} +\setlength{\itemsep}{0cm} + +\newcommand{\milieu}[1]{\begin{center}{#1}\end{center}} +\newcommand{\pruneau}{$\bullet$~} +\newcommand{\subsec}{\vspace{-1cm}\subsection{~}\vspace{-.5cm}} +% \today should work the same in theory +\def\mytoday{\ifcase\month\or + January\or February\or March\or April\or May\or June\or + July\or August\or September\or October\or November\or December\fi + \space\number\day, \number\year} + +\def\notess{\vnotes2.4\elemskip} +\def\notesss{\vnotes1.7\elemskip} +\def\notesm{\vnotes1.5\elemskip} +\def\appog{\multnoteskip\tinyvalue\tinynotesize} +\newcommand{\zcn}[2]{\zcharnote{#1}{#2}} +\newcommand{\lcn}[2]{\lcharnote{#1}{#2}} +\newcommand{\ccn}[2]{\ccharnote{#1}{#2}} +\newcommand{\nxst}{\nextstaff} +\def\hhqsk{\off{.7\elemskip}} + +\newcommand{\twoextr}[2] +%{\begin{music}\let\extractline\hbox +{\let\extractline\hbox +\hbox to \hsize{ +\hfill +\startextract #1 +\zendextract\hfill +\startextract #2 +\zendextract +\hfill} + +%\let\extractline\centerline\end{music}} +\let\extractline\centerline} + +\accshift=0mm +\geometricskipscale +\nostartrule +\nobarmessages\nobarnumbers +\let\extractline\centerline + +\begin{document} +\milieu{\ppfftwentynine Repository of music-notation mistakes} +\milieu{\medtype or} +\milieu{\ppfftwentyfour Essay on the true art of music engraving} +\milieu{\Huge Jean-Pierre Coulon} +%\centerline{\tt +%\kern3.5em{obs-nice}\kern-4.5em{@}\kern-3.5em{coulon}\kern4.5em{.fr}} + +\centerline{\tt \randomize{coulon@obs-nice.fr}} + + +\milieu{\mytoday} +%\milieu{\today} + +\milieu{\large intended for:} +\begin{itemize} +\item users of music-typesetting software packages, +\item developers of such packages, +\item traditional music-engravers, +\item sheet-music collectors, +\item those keen on problems of \textit{semantics}, \textit{semiology}, +\textit{philology} , etc. +\end{itemize} + +{\footnotesize NB: These examples are certainly musically worthless: +do not read them with your instrument :-)\\ +To limit myself to the essential, and lacking sufficient expertise, +I do not deal with any of these neighboring, exciting topics: + +\pruneau music theory, harmony, composition, etc.\\ +\pruneau comparative test of various typesetting packages,\\ +\pruneau how to interpret the quoted symbols according to epochs,\\ +\pruneau copyright issues,\\ +\pruneau percussion notation, and plucked-string instrument tablatures,\\ +\pruneau very-early-music notation, and avant-garde music +notation.\\ +\textit{ I apologize to readers of some countries for having adhered +to the U.S. terminology} + +} + + +\section{General issues} +\subsec +When simultaneous notes are present on the same staff, two notations +are posssible: chord notation, or multiple-voice, a.k.a. \textit{polyphonic} +notation. + +\twoextr +{\NOtes\qu c\zq c\qu e\en +\Notes\ibu0e2\zq c\qb0e\zq d\tqh0f\en} +{\NOtes\zql c\qp\zql c\qu e\en +\Notes\ibl0c2\ibu1e2\zqb0c\qb1e\tbl0\zqb0d\tqh1f\en} + +Of course, if parts have distinct rythms, the polyphonic notation is +required. + +\eject\milieu{\ppfftwenty from here:} +{\ppfftwentyfour This side: incorrect. \hfill This side: correct. } + +\subsec +Do your best to place \textit{page-turns} at places +acceptable for the musician, otherwise he will either +require a ``page-turner'', or labor to arrange +chunks of photocopies. Since modern musical scores are smaller +than before, this demands more efforts from the music engraver. + +{\footnotesize The actual print size, i.e. omitting margins, +of most scores from former epochs, almost matched the usual format +of most of modern scores including the margins. + +} + +An easy solution consists in using a small engraving size. +It is better to use a bigger size, at the price of more effort +to manage the spacing rationally. +These two excerpts require the same horizontal space, but that on the +right is easier to read: + +\bigaccid +\begin{music}\let\extractline\hbox +\hbox to \hsize{ +\hfill +\smallmusicsize +\setclef1{\treble} +\startextract% +\notess\ibbu0c1\qb0c\qb0{^c}\qb0d\tqh0{^d}\en +\notess\ibbu0f{-1}\qb0{g}\qb0{_g}\qb0f\tqh0e\en +\bar% +\notess\ibbu0c0\qb0{^cc}\qb0{=c}\tqh0c\en +\zendextract\hfill +\normalmusicsize +\startextract% +\notesss\ibbu0c1\qb0c\hqsk\qb0{^c}\qb0d\hqsk\tqh0{^d}\en +\notesss\ibbu0f{-1}\qb0{g}\hqsk\qb0{_g}\qb0f\tqh0e\en +\bar% +\notesss\ibbu0c0\qb0{^cc}\hqsk\qb0{=c}\tqh0c\en +\zendextract +\hfill} +\let\extractline\centerline\end{music} + +Moreover, you also have to vary the distances between the staves +of systems, to avoid wasting some vertical space +(see my edition of Dussek's piano Sonata op.35-3). + + + + +\subsec +Choose horizontal spacings that increase according to note durations, +but not proportional to these durations. Personally I am happy with a +spacing ratio +of \hbox{$\sqrt{2}\approx 1.414$} to represent a duration-ratio of 2, +but this is not an absolute rule, especially if thirty-second or +sixty-fourth notes are present, because this would bring them +too close to each other. +Do not change the spacing of a specific duration within a line without +a good reason. + +\nostartrule +\setclef1\treble +\hsize82.1mm +\startpiece +\NOTEs\hu c\sk\en +\NOTEs\qu c\en +\NOtes\cu c\en +\notes\ibbu0c0\qb0c\en +\notes\qb0{cc}\tqh0c\en +\setemptybar +\endpiece + +\hsize18cm + +\setclef1\treble +\twoextr +{\notes\hu c\en +\NOtes\qu c\en +\NOTes\cu c\en +\notes\ibbu0c0\qb0c\en +\Notes\qb0{cc}\tqh0c\en} +{\NOTes\hu c\en +\NOtes\qu c\en +\Notes\cu c\en +\notes\ibbu0c0\qb0{cc}\en +\notes\qb0c\tqh0c\en} + +{\footnotesize If a system has several staves, the part +with the \textbf{shortest} durations governs the overall spacing. +Lyrics, if any, may demand still wider spacings. + +} + +\subsec +Here is a good reason to modify tight note spacing: avoiding clashes: + +\twoextr +{\notesss\ccu c\ibbl0k2\qb0{jklm}\tqb0{^n}\en} +{\notesss\ccu c\hqsk\ibbl0k2\qb0{jklm}\hqsk\tqb0{^n}\en}k + +\subsec +If no other simultaneous part prevents it, note stems should also be +taken into account for the spacing: + +\largemusicsize +\twoextr +{\notes\ibbu0d0\qb0{ded}\tqh0e\ibbl0k0\qb0{jkj}\tqb0k\en} +{\notes\ibbu0d0\qb0{ded}\tqh0e\hqsk\ibbl0k0\qb0{jkj}\tqb0k\en} + + +\subsec +Never displace the vertical alignment to accommodate accidentals: + +\setstaffs1{2}\setclef1\bass\startrule\bigaccid +\twoextr{ +\notesm\ibbu0I2\qb0{IJK}\tqh0L\nxst\ibbu0d2\qb0{de}\hhqsk\qb0{^f}\tqh0g\en +\bar% +\NOtes\ql M\nxst\hhqsk\qu{^h}\en} +{\notesm\ibbu0I2\qb0{IJ}\hhqsk\qb0K\tqh0L\nxst\ibbu0d2\qb0{de}\hhqsk\qb0{^f}\tqh0g\en +\bar% +\NOtes\hqsk\ql M\nxst\hqsk\qu{^h}\en} + +\nostartrule + + + +\subsec +Write an interval of a \textit{second} in a chord with the lower note +\textbf{left}. On the other hand, in polyphonic writing, +it should be put \textbf{right}. + +\largemusicsize\setstaffs1{1}\setclef1{\treble} +\twoextr +{\NOtes\rq b\zq{ce}\qu g\en +\NOtes\rq b\zq{^ce}\qu g\en +\NOtes\rq c\rq e\rq g\qu b\en +\doublebar% +\NOtes\zql b\roffset{.9}{\qu c}\en +\notes\ibbu0c0\loff{\ibl1b{-1}\zqb1b}\qb0{cd}\en +\notes\tbl1\zqb1a\qb0c\tqh0d\en} +{\NOtes\rq c\zq{be}\qu g\en +\NOtes\sh c\rq c\zq{be}\qu g\en +\NOtes\rq c\zq{be}\qu g\en +\doublebar% +\NOtes\zqu c\roffset{.9}{\ql b}\en +\notes\ibbu0c0\roff{\ibl1b{-1}\zqb1b}\qb0c\hqsk\qb0d\en +\notes\tbl1\zqb1a\qb0c\tqh0d\en} + +{\footnotesize +I omit cases of voice crossing. +Do not be perturbed by an accidental associated with the +upper note. Do not perturb notes aside this second. + +} + + +\subsec +In polyphonic writing, notes should be shifted just enough to +distinguish them, anyway less than the spacing for a second: + +\Largemusicsize\generalmeter{\empty}\setstaffs1{1}\setclef1\treble +\twoextr +{\NOtes\zql c\roff{\zqu e}\qu g\en +\NOtes\zql c\zqu e\qu g\en +\NOtes\zql c\roffset{.2}{\zqu f}\qu g\en +\NOtes\zqlp c\roff{\zqup f}\qup h\en} +{\NOtes\zql c\loffset{.2}{\zqu g}\qu e\en +\NOtes\zql c\loffset{.2}{\zqu g}\qu e\en +\NOtes\zql c\roff{\zqu f}\qu g\en +\NOtes\loffset{.2}{\zqu h}\pt c\pt f\pt h\zql c\qu f\en} + +{\footnotesize Note the case of dotted notes: the augmentation dots +must be aligned vertically.} + +\subsec +Sometimes augmentations dots must be placed so as to avoid any +ambiguity: + +\twoextr +{\NOtes\ibu0h0\roffset{.9}{\zql g\pt h}\qb0h\en +\notes\tbbu0\tqh0h\en +\NOtes\zqlp g\qu i\en +\Notes\qu j\cl f\en +\Notes\zql e\qu k\en} +{\Notesp\loffset{.3}{\ibu0h0\zqb0h}% +\loffset{.5}{\raise.15\Interligne\hbox{\pt h}}\roffset{.8}{\zql g}\sk\en +%\NOtes\ibu0h0\loffset{.2}{\pt h}\roffset{1.4}{\zql g}\qb0h\en +\notes\tbbu0\tqh0h\en +\NOtes\pt f\zql g\qu i\en +\Notes\qu j\cl f\en +\Notes\zql e\qu k\en} + + + + +\subsec +In a two-part polyphonic notation, upper-part note stems should be +upwards, even if the other part has a rest: + +\normalmusicsize\setclef1{\bass} +\twoextr +{\NOTesp\zw H\hup a\en +\Notes\qu N\hroff{\liftpause{-2}}\ql{MKLM}\en} +{\NOTesp\zw H\hup a\en +\Notes\qu N\liftpause{-2}\qu{MKLM}\en} + +{\footnotesize(same for the lower part.)} + + +\subsec +Some linkings of notes or rests may be correct +according to music theory, +but impede sight reading: + +\normalmusicsize +\generalmeter{\meterfrac44}\setclef1\treble +\twoextr +{\notes\cu c\en +\bar% +\notes\cu d\en +\Notes\qp\en +\notes\ibu0f2\qb0{efgh}\tqh0i\en +\bar +\znotes\en} +%\notes\cl j\en} +{\notes\cu c\en +\bar% +\notes\cu d\ds\ds\cu e\en +\notes\ibu0g2\qb0{fgh}\tqh0i\en +\bar +\znotes\en} + +In other words, rests should not act as syncopated notes. In a ternary +beat, separate a rest that affects the second and third time values. +Beams do not demand so much care. + +{\footnotesize Some will argue that in early music, flag/beam notation +expresses some degree of articulation. But the rule above almost always +coincides with some \textit{reasonable} articulation. + +} + + +\section{Beaming} +\subsec +Beams should have an appropriate slope. In the past, one would avoid +too weak a slope, because the printing ink would maliciously attempt +to fill the tiny angle between these beams and the staff lines. +For a scale or an arpeggio, this slope cannot be steeper than that +formed by the notes, nor horizontal. A compromise must be found. +Here is an example, with its solution, by two distinguished publishers: + +\generalmeter{\empty} +\setstaffs1{1}\setclef1{\treble} +\twoextr{ +\notes\ibbu0a6\qb0{cdefg}\tqh0h\en +\notes\ibbu0g0\qb0{cdefg}\tqh0h\en} +{\notes\zcn q{\smalltype Peters end 19$^{th}$C.}\ibbu0a4\qb0{cdefg}\tqh0h\en +\notes\zcn q{\smalltype Henle end 20$^{th}$C.}\ibbu0e1\qb0{cdefg}\tqh0h\en +\notes\zcn q{recommended}\ibbu0d2\qb0{cdefg}\tqh0h\en} + +\footnotesize{If you want to imitate some French publishers :} + +\startextract% +\notes\ibu0d2\ibbu1d2\qb1c\qb0{defg}\tbu0\tqh1h\en +\notesss\ibu0i0\ibbbu1i0\qb1j\qb0{eg}\tbu0\tqh1j\en +\zendextract + +\subsec +Beam placement should be adapted to the contexte. This placement varies +depending on this group of notes is isolated or in a series: + +\startextract +\NOTes\hu c\hu d\en +\bar +\NOtes\qu f\en +\notes\ibbu0f4\qb0{ceg}\tqh0j\en +\NOtes\qu{cd}\en +\bar% +\NOtes\qp\en +\NOTes\hu f\en +\zendextract + +\twoextr +{\notes\ibbu0f4\qb0{ceg}\tqh0j\en +\notes\ibbu0f4\qb0{ceg}\tqh0j\en +\notes\ibbu0f4\qb0{ceg}\tqh0j\en +\notes\ibbu0f4\qb0{ceg}\tqh0j\en} +{\notes\ibbu0h1\qb0{ceg}\tqh0j\en +\notes\ibbu0h1\qb0{ceg}\tqh0j\en +\notes\ibbu0h1\qb0{ceg}\tqh0j\en +\notes\ibbu0h1\qb0{ceg}\tqh0j\en} + +\subsec +Avoid Z-like beams, as found in former editions: + +\normalmusicsize +\setclef1\bass +\twoextr +{\Notes\ibu0E{-4}\qb0G\zq{Nc}\qb0e\en +\Notes\zq{Nc}\qb0e\zq{Nc}\tqb0e\en} +{\Notes\ibl0H2\qb0G\en +\Notes\zq{Nc}\qb0e\zq{Nc}\qb0e\zq{Nc}\tqb0e\en +\doublebar% +\Notes\cu G\en +\Notes\ibl0a0\zq{Nc}\qb0e\zq{Nc}\qb0e\zq{Nc}\tqb0e\en} + + +\subsec +Beams should never cross ledger lines: + +\setclef1{\treble} +\twoextr +{\notes\ibbl0q3\qb0{qrstuvw}\tqb0x\en} +{\notes\ibbl0o1\qb0{qrstuvw}\tqb0x\en} + +\subsec +Do not affect beam placement to place rests at their usual height. +Rather move the rests: + +\twoextr +{\Notes\ibl0k1\qb0n\ds\tqb0o\en +\Notes\ibl0l0\qb0o\ds\tqb0o\en} +{\Notes\ibl0n1\qb0n\raise2\Interligne\ds\tqb0o\en +\Notes\ibl0o0\qb0o\raise2\Interligne\ds\tqb0o\en} + + +\section{Ties and slurs} +\subsec +When \textbf{slurred} notes are intended, the slur takes off and lands +above or below the \textbf{centers} of note heads. But for \textbf{tied} +notes, +the same sign takes off and lands vertically aligned with the boundary +of the note head, and not higher than this head. +One breaks from the first rule to +avoid colliding the note stems. + + +\largemusicsize +\twoextr +{\NOtes\isslurd0c\isluru1c\qu c\tsslur1 d\qu d\tsslur0e\qu e\islurd0f\qu f\en +\bar% +\NOtesp\tslur0f\roff{\itied0f}\qup f\en +\NOtes\ttie0\qu f\en} +{\NOtes\islurd0c\hroff{\isluru1c}\qu c\tslur1d\qu d\tslur0e\qu e\itied0f\qu f\en +\bar% +\NOtesp\ttie0\itied0f\qup f\en +\NOtes\ttie0\qu f\en} + +{\footnotesize Note that the tie becomes ``quieter''.} + + +\subsec +Meanwhile avoid ``acrobatics'' to strictly abide these rules: + +\largemusicsize +\twoextr +{\NOtes\islurd0c\qu c\tsslur0j\ql j\en +\NOtes\isluru0j\ql j\ql o\midslur5\tslur0k\ql k\en} +{\NOtes\isslurd0c\qu c\tsslur0j\ql j\en +\NOtes\isluru0l\ql j\ql o\tslur0m\ql k\en} + + +\subsec +At some epochs a single tie was supposed to refer to \textbf{all} +notes of a particular chord. Particular cases have become so frequent, +that it is better to note all ties explicitly. + +\largemusicsize +\twoextr +{\NOtes\itieu0g\zq{ce}\qu g\en +\bar% +\NOtes\ttie0\zq{ce}\qu g\en} +{\NOtes\itied0c\itenl1e\itieu2g\zq{ce}\qu g\en +\bar% +\NOtes\ttie0\tten1\ttie2\zq{ce}\qu g\en} + +\subsec +Associations of ties and slurs with dots and ornaments: + +\twoextr +{\NOtes\isluru0j\upz k\ql j\tslur0k\upz l\ql k\en +\NOtes\isluru0n\ql n\shake o\tslur0o\ql m\en} +{\NOtes\isluru0l\upz j\ql j\tslur0m\upz k\ql k\en +\NOtes\isluru0n\ql n\shake q\tslur0m\ql m\en} + +\newpage +\subsec +Associations of ties and slurs: + +\twoextr +{\NOtes\itied0d\qu d\en +\bar +\NOtes\ttie0\islurd1d\qu d\tslur1c\qu c\en +\NOtes\islurd1e\qu e\tslur1f\itied0f\qu f\en +\bar +\NOtes\ttie0\qu f\en} +{\NOtes\islurd1d\itied0d\qu d\en +\bar +\NOtes\ttie0\qu d\tslur1c\qu c\en +\NOtes\islurd1e\qu e\itied0f\qu f\en +\bar +\NOtes\tslur1f\ttie0\qu f\en} + +{\footnotesize Bowed-instruments players will find this obvious.} + + + +\subsec +The dotted slur is the best way to emphasize an \textit{editorial slur}: + +\setclef1{\treble} +\twoextr +{\NOtes\islurd0c\qu c\tslur0d\qu d\en +\NOtes\zcn a{\smalltype\bf (}\islurd0d\qu e% +\zcn b{\smalltype\bf ~)}\tslur0e\qu f\en +\NOtes\islurd0g\zqu g\hsk\zcn c{\bf /}\hsk\tslur0h\qu h\en} +{\NOtes\islurd0c\qu c\tslur0d\qu d\en +\NOtes\dotted\islurd0e\qu e\tslur0f\qu f\en +\NOtes\dotted\islurd0g\qu g\tslur0h\qu h\en} + + +\section{Accidentals} +\subsec +When a note with an accidental expands over several measure, +do not repeat the accidental on the next measures, except if there is +a line-break or a page-break: + +\twoextr +{\NOTEs\itied0b\itieu1j\zwh{^c}\wh{_i}\en +\bar% +\NOTes\ttie0\ttie1\zwh{^c}\hu{_i}\hu i\en} +{\NOTEs\itied0c\itieu1i\zwh{^c}\wh{_i}\en +\bar% +\NOTes\ttie0\ttie1\zwh c\hu i\hu{_i}\en} + +\subsec + +When an accidental affects \textit{small notes}, and is desired +to also affect subsequent notes, it must be repeated. + +\twoextr +{\notes\appog\ibbu0c2\qb0{^c}\tqh0d\en +\NOTes\wh c\en} +{\notes\appog\ibbu0c2\qb0{^c}\tqh0d\en +\NOTes\qsk\wh{^c}\en} + +\subsec +When a note with a single sharp comes after the same note with a +double sharp, you no longer put a natural sign before the single +sharp, unless you want to mimic 19th engraving style. Same for flats: + +\twoextr +{\NOtes\qu{>c}\lna c\qu{^c}\qu{c}\qu{^c}\qu{ 125 PS points) +/GD { dup length 2 sub 0 exch getinterval cvr 1.045 mul} def +% get dimen adjusted to Resolution +/GDAR { dup length 2 sub 0 exch getinterval cvr 4 AR mul 1.045 mul} def +% Adjust to Resolution +/AR { Resolution mul 300 div } def +% the distances in dvips's PostScript are resolution dependant! +end + +slur@Dict begin +/CP /currentpoint load def +/ED { exch def } bind def +/AR { Resolution mul 300 div } def % stands for Adjust to Resolution, +/VS { dup /ay1 exch ay1 exch linew mul 4 mul add def /ay2 exch ay2 exch linew mul 4 mul add def } def +/y { 3 2 roll ax1 ay1 rmoveto show moveto } def +/M { mul } def +/A { add } def +/SB { sub } def +/P { pop } def +/DP { dup } def +/R { roll } def + +/drawseg { 0 0 moveto + ax1 ay1 + ax1 0.6 mul ax2 0.4 mul add ay1 0.6 mul ay2 0.4 mul add + ax1 ax2 add 2 div ay1 ay2 add 2 div curveto + ax1 0.4 mul ax2 0.6 mul add ay1 0.4 mul ay2 0.6 mul add + ax2 ay2 + x2 0 curveto } def + +/DS { + AR /maxe ED + /ifadjust ED + /ifdash ED + AR /m ED % max height of the slur + /e ED % "angularity" of the slur; 0.1 = very angular, + % 0.3 = very round + /aa exch neg def % what to multiply the height with + % AFTER the max height checking + /y2 ED % y coordinate of the end of the slur + /x2 ED % x coordinate of the end of the slur + /y1 ED % y coordinate of the beginning of the slur + /x1 ED % x coordinate of the beginning of the slur + /yr2 ED + /yr1 ED + /internote ED + /x2 x2 x1 sub def % x2=x2-x1 + /y2 y2 y1 sub def % y2=y2-y1 + /sx y2 x2 div def + /b x2 300 mul Resolution div abs sqrt AR 2 mul def % b=2*sqrt(x2) + b 3 AR lt {/b 3 AR def} if % b=max(b,3) + b m gt {/b m def} if % b=min(b,m) + /aa b aa mul def % aa=aa*b + /s 90 x2 y2 atan sub def % s=90-arctan(x2,y2) slope of the slur + /aa aa s cos div def % aa=aa/cos(s) height of the slur + /x2 s neg cos x2 mul s neg sin y2 mul sub def % x2 = x2*cos(-s) - y2*sin(-s) + % is the length of the slur + e x2 mul maxe gt { /e maxe x2 div def } if + /beta e x2 mul aa neg atan def + beta 90 gt {/beta 180 beta sub def} if + /ax1 e x2 mul def % control points + /ay1 aa def + /ax2 1 e sub x2 mul def + /ay2 aa def + +% check if the starting and endin vector stay in desired quadrants +% => beta < abs(s) + beta s abs lt { + /b aa abs s abs 2 add sin mul s abs 2 add cos div def + s aa mul 0 lt { + s cos 0.75 lt { /ax1 ax1 b 1 s cos sub mul 0.5 mul sub def /ay1 ay1 s cos mul 0.8 mul def } if +% ^^^^ ^^^ ^^^ +% (values to play with) + /ax2 x2 b sub def + } + { + /ax1 b def + s cos 0.75 lt { /ax2 b 1 s cos sub mul 0.5 mul ax2 add def /ay2 ay2 s cos mul 0.8 mul def } if +% ^^^^ ^^^ ^^^ + } ifelse + } if + +% align the slur to the staff lines + + gsave + x1 y1 translate + s rotate +% [1 0 sx 1 0 0] concat + drawseg + gsave + initmatrix + flattenpath + pathbbox + exch pop + sub + /slh ED % in slh we have the height of the whole slur + pop + grestore + + /yr s aa mul 0 ge { yr1 } { yr2 } ifelse internote div def + /slh yr slh internote div aa 0 gt { add } { sub } ifelse 2 div def +% check if the slur gets too close to staff line + /shift 0 def + slh 4.45 lt slh -0.5 gt and { + /slh slh dup truncate sub def + slh 0 lt { /slh 1 slh add def } if + aa 0 gt { /slh 1 slh sub def } if + + % slh now contains the position ot the slur top/bottom in the space + % between the nearest staff lines (from <0,1>), regardless direction + + % slur is too low: + slh 0.45 lt { /shift 0.45 slh sub def } if + % slur is too high, but we can be shift it down: + slh 0.7 gt slh 0.85 lt and { /shift 0.7 slh sub def } if + % slur is too high, must be shifted up: + slh 0.85 ge { /shift 1.45 slh sub def } if + } if + + aa 0 gt { /shift shift neg def } if + + ifadjust 0 eq { + /shift 0 def + } if + + +% and finally draw it... + + grestore + gsave + /linew internote 0.06 mul AR def + linew 4 mul setlinewidth + 1 setlinecap + 0 setlinejoin + ifdash 1 eq + { [internote 8 mul AR internote 5 mul AR] 0 setdash } if + x1 y1 shift neg 2 mul internote mul 4 AR mul add translate + s rotate +% [1 sx 0 1 0 0] concat + +% uncomment this to see the control points +% 5 AR setlinewidth ax1 ay1 moveto 0.1 0 rlineto stroke +% ax2 ay2 moveto 0.1 0 rlineto stroke linew setlinewidth + + drawseg + 1 VS + drawseg + -2 VS + drawseg + x2 20 AR gt { + 3 VS + drawseg + } if + x2 50 AR gt { + -4 VS + drawseg + } if + x2 80 AR gt { + 5 VS + drawseg + } if + stroke + + grestore + + % now some \slurtext code... + + /x1 ax1 ax2 add 2 div def % middle of the slur + /y1 ay1 ay2 add 2 div def + x1 s cos mul y1 s sin mul add neg + y1 s cos mul x1 s sin mul sub + aa 0 lt {1} {0} ifelse + end + + % this is a hack to place the slurtext in the middle of the slur. + % From unknown reasons simple 'ax1 ay1 translate' did not work, + % so we have to overlay some definitions with our own, namely + % 'a', which is originally 'moveto' and 'V' for drawing rules. + % maybe there are some other operations that should be redefined, + % but for almost all cases this will be sufficient. If you find + % anything that won't be typeset at the correct position, let me know... + + temp@xx@dict begin + /dir exch def + /ay1 exch def + /ax1 exch def +} def + +% crescendos +/DC { + /y2 ED + /x2 ED + /y1 ED + /x1 ED + gsave + 1 AR ceiling setlinewidth % line thickness: this results + 1 setlinecap % to exactly 2 pixels in 300 dpi + 1 setlinejoin + x2 y2 10 AR add moveto % the 10's specify wideness of the + x1 y1 lineto % open end of the crescendo, + x2 y2 10 AR sub lineto % similarly the 11's below + stroke + grestore +} def + +% half crescendos +/DHC { + /y2 ED + /x2 ED + /y1 ED + /x1 ED + gsave + 1 AR ceiling setlinewidth + 1 setlinecap + 1 setlinejoin + x2 y2 11 AR add moveto + x1 y1 4 AR add lineto stroke + x1 y1 4 AR sub moveto + x2 y2 11 AR sub lineto + stroke + grestore +} def + +% differenced line + +/DLN { + gsave + GDAR ceiling setlinewidth + GDAR exch GDAR neg rlineto + stroke + grestore +} def + +% sloped line + +/DSLN { + gsave + GDAR ceiling setlinewidth + GDAR exch 1.125 mul neg rotate 0 rlineto + stroke + grestore +} def + +% free line (init & terminate) + +/DFLN { + gsave + GDAR ceiling setlinewidth + CP moveto + lineto + stroke + grestore +} def + +end + diff --git a/Master/texmf-dist/fonts/map/dvips/musixtex/musix.map b/Master/texmf-dist/fonts/map/dvips/musixtex/musix.map index 508901c5db1..a8d8de9ebd9 100644 --- a/Master/texmf-dist/fonts/map/dvips/musixtex/musix.map +++ b/Master/texmf-dist/fonts/map/dvips/musixtex/musix.map @@ -6,6 +6,7 @@ musix24 TeXMUSIX24-Regular % +% to the mutex list on 19 May 1999 % +% % +% % +% usage: % +% \curlybrackets{ % +% % +% ... % +% % +% } % +% % +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\ifx\undefined\curlybrackets \else \endinput\fi +\makeatletter + +\let\origin@lwrit@staffs\writ@staffs +\def\writ@staffs{% + \origin@lwrit@staffs + \ifx\br@cks\empty\else\expandafter\@bracks\br@cks\ende\fi} + +\let\br@cks\empty +\def\curlybrackets#1{\def\br@cks{#1}} + +\def\@bracks#1#2#3\ende{% + \ifnum #1<#2 %=========================== inserted by D.S.(?) + \noinstrum@nt=#1\s@l@ctinstr\b@zi\altitude + \noinstrum@nt=#2\s@l@ctinstr\b@zii\altitude + \advance\b@zii-\b@zi + \C@Inter + \advance\b@zii\nblines\internote + \advance\b@zii\nblines\internote + \advance\b@zii-2\internote + \n@v\b@zii \sp@pt\tw@ \advance\n@v\@cxxviii + \divide\b@zii\tw@ + \advance\b@zi\b@zii + \raise\b@zi\rlap{\mxsps\char\n@v\kern\instrum@in@group}% + \fi %==================================== inserted by D.S.(?) + \ifx\empty#3\else\@bracks#3\ende\fi} + +\makeatother +%%%%%%%%%%%%%%%%%%%%%%%%%% End of curly.tex %%%%%%%%%%%%%%%%%%%%%%%%%% diff --git a/Master/texmf-dist/tex/generic/musixtex/musixadd.tex b/Master/texmf-dist/tex/generic/musixtex/musixadd.tex index a899905acac..f5cc37edf18 100644 --- a/Master/texmf-dist/tex/generic/musixtex/musixadd.tex +++ b/Master/texmf-dist/tex/generic/musixtex/musixadd.tex @@ -18,7 +18,7 @@ % \ifx\staffspacingix\undefined\else\endinput\fi -\immediate\write10{MusiXADDitional instruments T.99\space<24 March 2000>}% +\immediate\write16{MusiXADDitional instruments T.99\space<24 March 2000>}% \edef\catcodeat{\the\catcode`\@}\catcode`\@=11 diff --git a/Master/texmf-dist/tex/generic/musixtex/musixbar.tex b/Master/texmf-dist/tex/generic/musixtex/musixbar.tex index bedcb1ebbb4..5e748aae6d3 100644 --- a/Master/texmf-dist/tex/generic/musixtex/musixbar.tex +++ b/Master/texmf-dist/tex/generic/musixtex/musixbar.tex @@ -7,7 +7,7 @@ \ifx\indivbarrules\undefined\else\endinput\fi -\immediate\write10{MusiXBAR printing or hiding seperate bar lines 1.01\space<23 Februar 2000>}% +\immediate\write16{MusiXBAR printing or hiding seperate bar lines 1.01\space<23 Februar 2000>}% \edef\catcodeat{\the\catcode`\@}\catcode`\@=11 diff --git a/Master/texmf-dist/tex/generic/musixtex/musixbbm.tex b/Master/texmf-dist/tex/generic/musixtex/musixbbm.tex index c5e08da155f..538bf4a089d 100644 --- a/Master/texmf-dist/tex/generic/musixtex/musixbbm.tex +++ b/Master/texmf-dist/tex/generic/musixtex/musixbbm.tex @@ -21,7 +21,7 @@ \input musixbm \fi -\immediate\write10{MusiXBBeaM T.405\space<30 October 1995>}% 256th beams +\immediate\write16{MusiXBBeaM T.405\space<30 October 1995>}% 256th beams \ifx\undefined\ibbbbbbu \else \endinput \fi diff --git a/Master/texmf-dist/tex/generic/musixtex/musixblx.tex b/Master/texmf-dist/tex/generic/musixtex/musixblx.tex index bcb76f5e02d..d40de4cb68e 100644 --- a/Master/texmf-dist/tex/generic/musixtex/musixblx.tex +++ b/Master/texmf-dist/tex/generic/musixtex/musixblx.tex @@ -18,7 +18,7 @@ % % (Nicolas Brouard) -\immediate\write10{MusiXBigLateX 0.36\space<1 March 1995>}% +\immediate\write16{MusiXBigLateX 0.36\space<1 March 1995>}% \ifx\undefined\largevaugment \else \endinput \fi diff --git a/Master/texmf-dist/tex/generic/musixtex/musixbm.tex b/Master/texmf-dist/tex/generic/musixtex/musixbm.tex index c5e7a344b78..ba986ac83d9 100644 --- a/Master/texmf-dist/tex/generic/musixtex/musixbm.tex +++ b/Master/texmf-dist/tex/generic/musixtex/musixbm.tex @@ -16,7 +16,7 @@ % the Free Software Foundation, Inc., 59 Temple Place - Suite 330, % Boston, MA 02111-1307, USA. % -\immediate\write10{MusiXBeaM T.94\space<11 May 1999>}% +\immediate\write16{MusiXBeaM T.94\space<11 May 1999>}% \ifx\undefined\ibbbbbu \else \endinput \fi diff --git a/Master/texmf-dist/tex/generic/musixtex/musixcho.tex b/Master/texmf-dist/tex/generic/musixtex/musixcho.tex index a0da766ed4d..55b5e482ebe 100644 --- a/Master/texmf-dist/tex/generic/musixtex/musixcho.tex +++ b/Master/texmf-dist/tex/generic/musixtex/musixcho.tex @@ -16,7 +16,7 @@ % the Free Software Foundation, Inc., 59 Temple Place - Suite 330, % Boston, MA 02111-1307, USA. % -\immediate\write10{MusiXCHOir T.89\space<24 March 1998>}% +\immediate\write16{MusiXCHOir T.89\space<24 March 1998>}% \ifx\undefined\braceheight \else \endinput \fi diff --git a/Master/texmf-dist/tex/generic/musixtex/musixcpt.tex b/Master/texmf-dist/tex/generic/musixtex/musixcpt.tex index bed7c70f173..3883c0b6060 100644 --- a/Master/texmf-dist/tex/generic/musixtex/musixcpt.tex +++ b/Master/texmf-dist/tex/generic/musixtex/musixcpt.tex @@ -21,7 +21,7 @@ \ifx\undefined\DIMin \else \endinput \fi -\immediate\write10{MusiXComPaTible T.67\space<7 January 1997>}% +\immediate\write16{MusiXComPaTible T.109\space<7 July 2002>}% \ifx\undefined\mxversion \errmessage{MusiXcpt input before MusiXTeX !}\fi @@ -182,7 +182,9 @@ \chardef\@liii=53 \newif\ifcautionacc -\def\@acc#1{\inhgetn@i#1\relax\@BigAcc} +\def\@acc#1{\check@staff + \inhgetn@i#1\relax\@BigAcc + \fi} \def\@BigAcc{\pl@base\raise\y@i\llap{\musixchar\n@v\kern\accshift}} \def\bigfl{\n@v\@l \@acc} @@ -191,16 +193,23 @@ \def\bigdsh{\n@v\@liii \@acc} \def\bigna{\n@v\@liv \@acc} -\def\@smallacc#1{\inhgetn@i#1\relax\n@iv\fiv@ \@SmallACC} -\def\@SmallACC{\pl@base\raise\y@i\llap{\@SmallAcc\kern\accshift}} -\def\@SmallAcc{\ifcautionacc\C@ChaR \fi \musixchar\n@v - \ifcautionacc\kern.3\qn@width \fi\global\cautionaccfalse} +\def\@smallacc#1{\check@staff + \inhgetn@i#1\relax\n@iv\fiv@ \@SmallACC + \fi} +\def\@SmallACC{\check@staff + \pl@base\raise\y@i\llap{\@SmallAcc\kern\accshift}\fi} +\def\@SmallAcc{\check@staff + \ifcautionacc\C@ChaR \fi \musixchar\n@v + \ifcautionacc\kern.3\qn@width \fi + \fi\global\cautionaccfalse} \def\smallna{\n@v94\@smallacc} \def\smallfl{\n@v90\@smallacc} \def\smallsh{\n@v92\@smallacc} \def\smalldsh{\n@v93\@smallacc} -\def\smalldfl#1{\n@v91\inhgetn@i#1\relax\n@iv\si@ \@SmallACC} +\def\smalldfl#1{\check@staff + \n@v91\inhgetn@i#1\relax\n@iv\si@ \@SmallACC + \fi} \def\csh{\cautionacctrue\smallsh} \def\cdsh{\cautionacctrue\smalldsh} @@ -256,7 +265,9 @@ % \n@ii positive signature limit, \n@ii-8 negative signature limit \advance\n@ii-\a@s \advance\n@ii\si@ \divide\n@ii\s@v@n \n@iv\fiv@} -\def\C@aacc{\advance\n@v\n@vi \@Ti} +\def\C@aacc{\check@staff + \advance\n@v\n@vi \@Ti + \fi } \def\@Flat#1{\sign@diff#1\relax \ifcase\n@ii \n@v\@liv \or\n@v\@l \or\n@v\@li \fi \C@aacc} @@ -621,9 +632,11 @@ \def\zmidtwotext{\zmidstaff} \def\lmidtwotext{\let\@Ti\hss \let\@Tii\empty \C@midcpt} -\def\C@midcpt#1{\y@v\interportee \advance\y@v\f@ur\Interligne \divide\y@v\tw@ +\def\C@midcpt#1{\check@staff + \y@v\interportee \advance\y@v\f@ur\Interligne \divide\y@v\tw@ \raise\y@v\uplap{\hbox\@to\noteskip{\@Ti\strut#1\@Tii}\vss}% - \advance\locx@skip\noteskip} + \advance\locx@skip\noteskip + \fi} % for what ? diff --git a/Master/texmf-dist/tex/generic/musixtex/musixdat.tex b/Master/texmf-dist/tex/generic/musixtex/musixdat.tex index fda6ebd8f7c..16541a6e5c9 100644 --- a/Master/texmf-dist/tex/generic/musixtex/musixdat.tex +++ b/Master/texmf-dist/tex/generic/musixtex/musixdat.tex @@ -16,7 +16,7 @@ % the Free Software Foundation, Inc., 59 Temple Place - Suite 330, % Boston, MA 02111-1307, USA. % -\immediate\write10{MusiXDATes 0.36\space<1 March 1995>}% +\immediate\write16{MusiXDATes 0.36\space<1 March 1995>}% \ifx\undefined\dategerman \else \endinput \fi diff --git a/Master/texmf-dist/tex/generic/musixtex/musixdbr.tex b/Master/texmf-dist/tex/generic/musixtex/musixdbr.tex new file mode 100644 index 00000000000..2ad82ca6620 --- /dev/null +++ b/Master/texmf-dist/tex/generic/musixtex/musixdbr.tex @@ -0,0 +1,250 @@ +\ifx\indivbarrules\undefined\else\endinput\fi + +\immediate\write10{MusiXDashed and Dotted BaRlines 1.0\space<23 February 2002>}% +% by Rainer Dunker +% Ideas and code based on musixbar.tex +% by Mthimkhulu Molekwa + +\makeatletter + +\newdimen\barline@depth + +\def\barlinedash#1{\vskip.5\Internote + \hrule\@width#1\@height\Internote + \vskip.5\Internote} +\def\barlinedots#1{\vskip.5\Internote + \hbox to #1{\hss\tenrm.\hss} + \vskip.5\Internote} + +\def\rul@indiv#1{% + \n@loop + \Comp@High + \multiply\barline@depth -1\relax + \advance\barline@depth\altitude + \expandafter\ifx\csname s@b\romannumeral\noinstrum@nt\endcsname\relax + % normal barline below instrument + \raise\altitude\rlap{\vrule\@depth\barline@depth\@width#1\@height0pt }% + \else + \expandafter\ifx\csname s@b\romannumeral\noinstrum@nt\endcsname 2% + % dashed barline below instrument + \raise\altitude\hbox{% + \lower\barline@depth\rlap{% + \vbox to \barline@depth{% + \xleaders\vbox{\barlinedash{#1}}\vfill}}}% + \else + \expandafter\ifx\csname s@b\romannumeral\noinstrum@nt\endcsname 3% + % dotted barline below instrument + \raise\altitude\hbox{% + \lower\barline@depth\rlap{% + \vbox to \barline@depth{% + \xleaders\vbox{\barlinedots{#1}}\vfill}}}% + \fi + \fi + \fi + \ifnum\st@ffs>1 % multi-staff instrument + \multi@instrum@bars{#1}% + \else % single-staff instrument + \expandafter\ifx\csname h@bl\romannumeral\noinstrum@nt\endcsname\relax + % normal barline through instrument + \raise\altitude\rlap{\vrule\@depth0pt \@width#1\@height\y@v}% + \else + \expandafter\ifx\csname h@bl\romannumeral\noinstrum@nt\endcsname 2% + % dashed barline through instrument + \raise\altitude\rlap{% + \vbox to \y@v{% + \cleaders\vbox to 2\internote{\vss + \hrule\@width#1\@height\internote + \vss}% + \vfill}}% + \else + \expandafter\ifx\csname h@bl\romannumeral\noinstrum@nt\endcsname 3% + % dotted barline through instrument + \raise\altitude\rlap{% + \vbox to \y@v{% + \cleaders\vbox to 2\internote{\vss + \hbox to #1{\hss\tenrm.\hss}% + \vss}% + \vfill}}% + \fi + \fi + \fi + \fi + \barline@depth\altitude + \advance\barline@depth\y@v + \repeat + \addspace#1} + +\def\multi@instrum@bars#1{% + \begingroup + % retrieve staff height + \count@=\nblines \advance\count@ -1 \multiply\count@ 2 + \dimen@=\count@\internote + \p@loop + % barline within staff + \expandafter\ifx\csname h@bl\romannumeral\noinstrum@nt\endcsname\relax + % normal barline through staff + \raise\altportee\rlap{\vrule\@depth0pt \@width#1\@height\dimen@}% + \else + \expandafter\ifx\csname h@bl\romannumeral\noinstrum@nt\endcsname 2% + % dashed barline through staff + \raise\altportee\rlap{% + \vbox to \dimen@{% + \cleaders\vbox to 2\internote{\vss + \hrule\@width#1\@height\internote + \vss}% + \vfill}}% + \else + \expandafter\ifx\csname h@bl\romannumeral\noinstrum@nt\endcsname 3% + % dotted barline through staff + \raise\altportee\rlap{% + \vbox to \dimen@{% + \cleaders\vbox to 2\internote{\vss + \hbox to #1{\hss\tenrm.\hss}% + \vss}% + \vfill}}% + \fi + \fi + \fi + \count@portee + % barline above staff + \ifnum\noport@@<\st@ffs % not for topmost staff + \barline@depth\interportee + \advance\barline@depth -\dimen@ + \raise\altportee\hbox{\raise\dimen@\rlap{% + \expandafter\ifx\csname s@mb\romannumeral\noinstrum@nt\endcsname + \relax + % normal barline + \vrule\@height\barline@depth\@width#1\relax + \else + \expandafter\ifx\csname s@mb\romannumeral\noinstrum@nt\endcsname 2% + % dashed barline + \vbox to \barline@depth{% + \xleaders\vbox{\barlinedash{#1}}\vfill}% + \else + \expandafter\ifx\csname s@mb\romannumeral\noinstrum@nt\endcsname + 3% dotted barline + \vbox to \barline@depth{% + \xleaders\vbox{\barlinedots{#1}}\vfill}% + \fi + \fi + \fi}}% + \fi + \repeat + \endgroup} + + +% Activate individual barline processing +\def\indivbarrules{% + \let\writ@rule\rul@indiv + \sepbarrule 1} + +%== separates bar line of specified instrument from one of previous instrument +\def\sepbarrule#1{\expandafter\let\csname s@b\romannumeral#1\endcsname 1} + +%== connects bar line of specified instrument to one of previous instrument +% with dashed line +\def\condashbarrule#1{% + \ifnum#1>1 \expandafter\let\csname s@b\romannumeral#1\endcsname 2\fi} + +%== connects bar line of specified instrument to one of previous instrument +% with dotted line +\def\condotbarrule#1{% + \ifnum#1>1 \expandafter\let\csname s@b\romannumeral#1\endcsname 3\fi} + +%== connects bar line of specified instrument to one of previous instrument +\def\conbarrule#1{% + \ifnum#1>1 \expandafter\let\csname s@b\romannumeral#1\endcsname\relax\fi} + +%== hides bar line for specified instrument +\def\hidebarrule#1{\expandafter\let\csname h@bl\romannumeral#1\endcsname 1} + +%== dashes bar line for specified instrument +\def\showdashbarrule#1{\expandafter\let\csname h@bl\romannumeral#1\endcsname 2} + +%== dots bar line for specified instrument +\def\showdotbarrule#1{\expandafter\let\csname h@bl\romannumeral#1\endcsname 3} + +%== shows bar line for specified instrument +\def\showbarrule#1{\expandafter\let\csname h@bl\romannumeral#1\endcsname\relax} + +%== separates bar line within multistaff instrument +\def\sepmultibarrule#1{\expandafter\let\csname s@mb\romannumeral#1\endcsname 1} + +%== dashes bar line between staves of multistaff instrument +\def\condashmultibarrule#1{% + \expandafter\let\csname s@mb\romannumeral#1\endcsname 2} + +%== dots bar line between staves of multistaff instrument +\def\condotmultibarrule#1{% + \expandafter\let\csname s@mb\romannumeral#1\endcsname 3} + +%== shows bar line between staves of multistaff instrument +\def\conmultibarrule#1{% + \expandafter\let\csname s@mb\romannumeral#1\endcsname\relax} + +% set barlines for all instruments together +\def\allbarrules#1{\n@loop#1\noinstrum@nt\repeat} + + +\makeatother +\endinput + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + +% Here comes an example of how to use these macros + +\input musixtex +\input musixdbr + +\instrumentnumber4 +\setstaffs23 +\setstaffs32 +\setlines14 +\setsize2\tinyvalue + +\indivbarrules + +\startpiece + % normal barlines + \bar + % barlines on staves + \allbarrules\sepbarrule + \allbarrules\sepmultibarrule + \allbarrules\showbarrule + \bar + % barlines between staves + \allbarrules\conbarrule + \allbarrules\conmultibarrule + \allbarrules\hidebarrule + \bar + % dashed barlines on staves + \allbarrules\sepbarrule + \allbarrules\sepmultibarrule + \allbarrules\showdashbarrule + \bar + % dashed barlines between staves + \allbarrules\condashbarrule + \allbarrules\condashmultibarrule + \allbarrules\hidebarrule + \bar + % dotted barlines on staves + \allbarrules\sepbarrule + \allbarrules\sepmultibarrule + \allbarrules\showdotbarrule + \bar + % dotted barlines between staves + \allbarrules\condotbarrule + \allbarrules\condotmultibarrule + \allbarrules\hidebarrule + \bar + % a wild mixture of all + \showdotbarrule1\hidebarrule2\showdashbarrule3\showbarrule4% + \condashbarrule2\conbarrule3\condotbarrule4% + \condashmultibarrule2\sepmultibarrule3% + \bar + % conventional ending + \allbarrules\showbarrule + \allbarrules\conbarrule + \allbarrules\conmultibarrule +\Endpiece +\bye diff --git a/Master/texmf-dist/tex/generic/musixtex/musixdia.tex b/Master/texmf-dist/tex/generic/musixtex/musixdia.tex index 87120f00b47..05839eea01f 100644 --- a/Master/texmf-dist/tex/generic/musixtex/musixdia.tex +++ b/Master/texmf-dist/tex/generic/musixtex/musixdia.tex @@ -17,7 +17,7 @@ % Boston, MA 02111-1307, USA. % -\immediate\write10{MusiXDIAmond T.40\space<12 September 1995>}% +\immediate\write16{MusiXDIAmond T.40\space<12 September 1995>}% \ifx\undefined\dqu \else \endinput \fi diff --git a/Master/texmf-dist/tex/generic/musixtex/musixeng.tex b/Master/texmf-dist/tex/generic/musixtex/musixeng.tex index 747fdf691e0..0f35e0984b5 100644 --- a/Master/texmf-dist/tex/generic/musixtex/musixeng.tex +++ b/Master/texmf-dist/tex/generic/musixtex/musixeng.tex @@ -19,7 +19,7 @@ % suggested by Ross Mitchell -\immediate\write10{MusiX ENGlish rests T.404\space<31 October 1995>}% +\immediate\write16{MusiX ENGlish rests T.404\space<31 October 1995>}% \edef\catcodeat{\the\catcode`\@}\catcode`\@=11 diff --git a/Master/texmf-dist/tex/generic/musixtex/musixesf.tex b/Master/texmf-dist/tex/generic/musixtex/musixesf.tex new file mode 100644 index 00000000000..0fa6fd0829e --- /dev/null +++ b/Master/texmf-dist/tex/generic/musixtex/musixesf.tex @@ -0,0 +1,79 @@ +%% +%% musixesf.tex : efont-serif series fonts definition for MusiXTeX +%% +%% usage: +%% \input musixtex +%% \input musixesf +%% ... +%% +%% This file is public domain. +%% +%% Author: +%% Hiroaki MORIMOTO +%% Tokyo, Japan +%% URL(en): http://homepage1.nifty.com/kuuku/pub/musixtex/index-e.html +%% (jp): http://homepage1.nifty.com/kuuku/pub/musixtex/index.html +%% +%% reference: musixtex.tex (T.99) 268-508 +%% MusiXTeX: (c) Daniel Taupin, et al. +%% +%% efont-serif: +%% (c) /efont/ +%% The Electronic Font Open Laboratory +%% http://openlab.ring.gr.jp/efont/dist/serif/efont-serif-tex-20010312-p3.tar.gz +%% http://openlab.ring.gr.jp/efont/serif/index.html.en +%% http://openlab.ring.gr.jp/efont/index.html.en +%% +%% History: see trailer. +% +\immediate\write16{MusiXTeX efont-serif\space<2009/10/15>} +% +% 8pt roman, bold, and italic +\font\eightrm=esfr7t at 8pt +\font\eightbf=esfb7t at 8pt +\font\eightit=esfri7t at 8pt +% +% 9pt +\font\ninerm=esfr7t at 9pt +\font\ninebf=esfb7t at 9pt +\font\nineit=esfri7t at 9pt +% +% 10pt +\font\tenrm=esfr7t +\font\tenbf=esfb7t +\font\tenit=esfri7t +% +% 12pt +\font\twelverm=esfr7t scaled \magstep 1 +\font\twelvebf=esfb7t scaled \magstep 1 +\font\twelveit=esfri7t scaled \magstep 1 +% +% Large fonts for titles +% (If you prefer efont-serif-bold, use esfb7t instead of esfr7t) +\font\bigfont=esfr7t scaled \magstep2 % 14pt +\font\Bigfont=esfr7t scaled \magstep3 % 17pt +\font\BIgfont=esfr7t scaled \magstep4 % 20pt +\font\BIGfont=esfr7t scaled \magstep5 % 25pt +% +% PMX changes font assignment in pmx.tex +% \BIGfont=\fontid bx10 scaled\magstep4 +% \Bigfont=\fontid bx10 scaled\magstep2 +\ifx\pmxversion\undefined\relax\else + \font\Bigfont=esfr7t scaled \magstep2 % 14pt + \font\BIGfont=esfr7t scaled \magstep4 % 20pt +\fi +% +\normtype +\endinput +%% +%% History +%% +%% 2006/05/13 +%% first publish +%% 2007/06/11 +%% no functional change. (email protection, real address change, URL change) +%% 2008/08/01 +%% Font assignment change on PMX. +%% 2009/10/15 +%% small update for MusiXTeX T.114 final release. +%% diff --git a/Master/texmf-dist/tex/generic/musixtex/musixevo.tex b/Master/texmf-dist/tex/generic/musixtex/musixevo.tex index 64fc9881ae5..dd6c1e5ffc7 100644 --- a/Master/texmf-dist/tex/generic/musixtex/musixevo.tex +++ b/Master/texmf-dist/tex/generic/musixtex/musixevo.tex @@ -1,4 +1,4 @@ -\immediate\write10{MusiXEVenOdd T.53\space<1 April 1996>}% +\immediate\write16{MusiXEVenOdd T.53\space<1 April 1996>}% % enables diff --git a/Master/texmf-dist/tex/generic/musixtex/musixext.tex b/Master/texmf-dist/tex/generic/musixtex/musixext.tex index a68d2a2053d..4f95d9eacc6 100644 --- a/Master/texmf-dist/tex/generic/musixtex/musixext.tex +++ b/Master/texmf-dist/tex/generic/musixtex/musixext.tex @@ -16,7 +16,7 @@ % the Free Software Foundation, Inc., 59 Temple Place - Suite 330, % Boston, MA 02111-1307, USA. % -\immediate\write10{MusiXEXTra 0.36\space<1 March 1995>}% +\immediate\write16{MusiXEXTra 0.36\space<1 March 1995>}% \ifx\undefined\centerskip \else \endinput \fi diff --git a/Master/texmf-dist/tex/generic/musixtex/musixfll.tex b/Master/texmf-dist/tex/generic/musixtex/musixfll.tex index 532a296eccb..7cb9e44faec 100644 --- a/Master/texmf-dist/tex/generic/musixtex/musixfll.tex +++ b/Master/texmf-dist/tex/generic/musixtex/musixfll.tex @@ -19,7 +19,7 @@ \ifx\undefined\longledgerlines \else \endinput \fi -\immediate\write10{MusiXFormerLedgerLines T.74\space<06 April 1997>}% +\immediate\write16{MusiXFormerLedgerLines T.74\space<06 April 1997>}% \edef\catcodeat{\the\catcode`\@}\catcode`\@=11 diff --git a/Master/texmf-dist/tex/generic/musixtex/musixgre.tex b/Master/texmf-dist/tex/generic/musixtex/musixgre.tex index eb5e02f1c51..a7272fb30ce 100644 --- a/Master/texmf-dist/tex/generic/musixtex/musixgre.tex +++ b/Master/texmf-dist/tex/generic/musixtex/musixgre.tex @@ -16,7 +16,7 @@ % the Free Software Foundation, Inc., 59 Temple Place - Suite 330, % Boston, MA 02111-1307, USA. % -\immediate\write10{MusiXGREgorian T.67\space<3 January 1997>}% +\immediate\write16{MusiXGREgorian T.67\space<3 January 1997>}% \ifx\undefined\gregorianCclef \else \endinput \fi diff --git a/Master/texmf-dist/tex/generic/musixtex/musixgui.tex b/Master/texmf-dist/tex/generic/musixtex/musixgui.tex index 569e21d2a29..103360b2694 100644 --- a/Master/texmf-dist/tex/generic/musixtex/musixgui.tex +++ b/Master/texmf-dist/tex/generic/musixtex/musixgui.tex @@ -16,7 +16,7 @@ % the Free Software Foundation, Inc., 59 Temple Place - Suite 330, % Boston, MA 02111-1307, USA. % -\immediate\write10{MusiXGUItar 0.36\space<1 March 1995>}% +\immediate\write16{MusiXGUItar 0.36\space<1 March 1995>}% \ifx\undefined\guitar \else \endinput \fi diff --git a/Master/texmf-dist/tex/generic/musixtex/musixhor.tex b/Master/texmf-dist/tex/generic/musixtex/musixhor.tex index 7b603966f30..fbc73393e1b 100644 --- a/Master/texmf-dist/tex/generic/musixtex/musixhor.tex +++ b/Master/texmf-dist/tex/generic/musixtex/musixhor.tex @@ -21,7 +21,7 @@ \input musixsty.tex \fi -\immediate\write10{MusiXtextSTYle-horizontal T.98\space<21 October 1999>}% +\immediate\write16{MusiXtextSTYle-horizontal T.98\space<21 October 1999>}% \vsize=185mm \hsize=275mm @@ -29,6 +29,7 @@ \advance\hoffset -\hsize \divide\hoffset 2\relax \advance\hoffset -2.54cm +\voffset -3mm \tenpoint \def\horizontalscore{\relax} %%%%%%%%%%%%%%%%%%%%%%%%% local adjust to be tuned %%%%%%%%%%%%%%%%%%%%%%%%%% diff --git a/Master/texmf-dist/tex/generic/musixtex/musixhou.tex b/Master/texmf-dist/tex/generic/musixtex/musixhou.tex index bdf07ab6549..d0eb65d23b1 100644 --- a/Master/texmf-dist/tex/generic/musixtex/musixhou.tex +++ b/Master/texmf-dist/tex/generic/musixtex/musixhou.tex @@ -17,7 +17,7 @@ % Boston, MA 02111-1307, USA. % -\immediate\write10{MusiXHOUsestyles T.64\space<8 October 1996>}% +\immediate\write16{MusiXHOUsestyles T.64\space<8 October 1996>}% \ifx\undefined\Metron \else \endinput \fi diff --git a/Master/texmf-dist/tex/generic/musixtex/musixlex.tex b/Master/texmf-dist/tex/generic/musixtex/musixlex.tex new file mode 100644 index 00000000000..7d243763c80 --- /dev/null +++ b/Master/texmf-dist/tex/generic/musixtex/musixlex.tex @@ -0,0 +1,1201 @@ +\begin{theindex} + + \item {\tt\char37}, 12 + \item *, 34 + \item \&, 6, 16, 82 + \item \^{}M, 99 + \item {\tt\char'174}, 6, 81, 82 + + \indexspace + + \item {\tt a4wide}, 81 + \item {\Bslash AB}, 96 + \item {\Bslash absoluteaccid}, 38 + \item {\Bslash accshift}, 35 + \item acute accent, 35 + \item {\Bslash addspace}, 34 + \item {\Bslash afterruleskip}, 22, 34 + \item {\Bslash akkoladen}, 20 + \item {\Bslash alaligne}, 10, 12, 49, 52, 63, 84 + \item {\Bslash alapage}, 10, 12, 49, 52, 63, 84 + \item {\Bslash allabreve}, 18 + \item {\Bslash altitude}, 68 + \item {\Bslash alto}, 18 + \item alto clef, 18, 51 + \item {\Bslash altplancher}, 68 + \item {\Bslash altportee}, 68 + \item anonymous ftp, 99 + \item apostropha, 87 + \item {\Bslash apostropha}, 87 + \item apostropha aucta, 87 + \item {\Bslash apostropha aucta}, 87 + \item {\Bslash arithmeticskipscale}, 22 + \item {\Bslash arpeggio}, 58 + \item {\Bslash atnextline}, 63, 69 + \item {\Bslash AUF}, 96 + \item {\Bslash author}, 97 + \item author names, 96 + \item {\Bslash autoledgerlines}, 86 + \item {\Bslash autolines}, 12, 84 + + \indexspace + + \item {\sc Bach, J.S.}, 104 + \item {\Bslash backturn}, 60 + \item {\Bslash bar}, 45, 49, 52, 53 + \item {\Bslash bar} \ital{(original meaning)}, 45 + \item bar numbering, 45 + \item {\Bslash barno}, 46 + \item {\Bslash barnumbers}, 46 + \item baroque, 62 + \item {\Bslash barre}, 83 + \item {\Bslash barsinline}, 84 + \item {\Bslash bass}, 18 + \item bass clef, 18, 51 + \item {\Bslash basslowoct}, 78 + \item {\Bslash bassoct}, 78 + \item beams, 8, 17 + \item {\Bslash beforeruleskip}, 22, 34 + \item {\Bslash begin{\tt \char '173}bigmusic{\tt \char '175}}, 81 + \item {\Bslash begin{\tt \char '173}music{\tt \char '175}}, 70 + \item {\Bslash bf}, 56, 96 + \item {\Bslash bigaccid}, 35 + \item {\Bslash bigfl}, 35 + \item Big\LaTeX, 81, 82 + \item {\Bslash biglbrace}, 84 + \item {\Bslash bigrbrace}, 84 + \item {\Bslash bigsh}, 35 + \item Big\TeX, 82 + \item {\Bslash BIGtype}, 56 + \item {\Bslash BIgtype}, 56 + \item {\Bslash Bigtype}, 56 + \item {\Bslash bigtype}, 56 + \item {\Bslash bistropha}, 88 + \item {\Bslash bivirga}, 88 + \item {\Bslash blppz}, 58 + \item {\Bslash blpz}, 58 + \item {\Bslash blsf}, 58 + \item {\Bslash blsfz}, 58 + \item {\Bslash blst}, 58 + \item {\Bslash bltext}, 58 + \item {\Bslash boxit}, 46, 54 + \item {\Bslash boxitsep}, 54 + \item {\Bslash bporrectus}, 90 + \item {\Bslash braceheight}, 84 + \item {\Bslash bracket}, 62 + \item {\sc Brahms, J.}, 30, 51 + \item {\Bslash breakslur}, 43 + \item {\Bslash breath}, 60 + \item breathing, 60 + \item {\Bslash breve}, 23 + \item {\sc Brouard, N.}, 81 + \item {\Bslash bsk}, 33 + \item {\Bslash buppz}, 58 + \item {\Bslash bupz}, 58 + \item {\Bslash busf}, 58 + \item {\Bslash busfz}, 58 + \item {\Bslash bust}, 58 + \item {\Bslash butext}, 58 + \item {\Bslash bye}, 21, 50 + + \indexspace + + \item {\Bslash ca}, 23 + \item cadenzas, 64 + \item {\Bslash caesura}, 61 + \item {\Bslash catcode}, 16, 81, 82 + \item {\Bslash catcodes}, 81 + \item {\Bslash catcodesmusic}, 82 + \item cautionary accidental, 35 + \item {\Bslash cbreath}, 60 + \item {\Bslash cca}, 23 + \item {\Bslash ccca}, 24 + \item {\Bslash ccccca}, 84 + \item {\Bslash cccccl}, 84 + \item {\Bslash cccccu}, 84 + \item {\Bslash ccccl}, 24 + \item {\Bslash cccclp}, 96 + \item {\Bslash cccclpp}, 96 + \item {\Bslash ccccu}, 24 + \item {\Bslash ccccup}, 96 + \item {\Bslash ccccupp}, 96 + \item {\Bslash cccl}, 24 + \item {\Bslash ccclp}, 96 + \item {\Bslash ccclpp}, 96 + \item {\Bslash cccu}, 23 + \item {\Bslash cccup}, 96 + \item {\Bslash cccupp}, 96 + \item {\Bslash cchar}, 55, 71 + \item {\Bslash ccharnote}, 54, 55 + \item {\Bslash ccl}, 23 + \item {\Bslash cclp}, 96 + \item {\Bslash cclpp}, 96 + \item {\Bslash ccu}, 23 + \item {\Bslash ccup}, 96 + \item {\Bslash ccupp}, 96 + \item {\Bslash cdfl}, 35 + \item {\Bslash cdsh}, 35 + \item {\Bslash centerbar}, 32 + \item {\Bslash centerhpause}, 32 + \item {\Bslash centerPAUSe}, 32 + \item {\Bslash centerPAuse}, 32 + \item {\Bslash centerpause}, 32 + \item {\Bslash cfl}, 35 + \item {\Bslash changeclefs}, 51 + \item {\Bslash Changecontext}, 51, 52 + \item {\Bslash changecontext}, 34, 49, 51, 52 + \item {\Bslash changesignature}, 51 + \item {\Bslash chl}, 94 + \item chords, 17 + \item {\Bslash ChroirStrut}, 85 + \item {\Bslash chu}, 94 + \item {\Bslash circleit}, 54 + \item {\Bslash cl}, 23, 65 + \item clef d'ut, 17, 51 + \item clef de fa, 17, 51 + \item clef de sol, 17, 51 + \item clefs (empty), 77 + \item {\Bslash climacus}, 90 + \item {\Bslash climacusauctdown}, 92 + \item {\Bslash climacusdeminut}, 93 + \item {\Bslash climacusresupinus}, 90 + \item {\Bslash clivis}, 88 + \item {\Bslash clivisauctdown}, 91 + \item {\Bslash clivisauctup}, 91 + \item {\Bslash clivisdeminut}, 92 + \item {\Bslash clp}, 26 + \item {\Bslash clpp}, 26 + \item {\Bslash clppp}, 97 + \item {\Bslash cmidstaff}, 55 + \item {\Bslash cna}, 35 + \item {\Bslash cnhl}, 94 + \item {\Bslash cnhu}, 94 + \item {\Bslash cnql}, 94 + \item {\Bslash cnqu}, 94 + \item {\Bslash Coda}, 54 + \item {\Bslash coda}, 54 + \item {\Bslash Contpiece}, 49 + \item {\Bslash contpiece}, 49, 52, 69 + \item {\Bslash cql}, 94 + \item {\Bslash cqu}, 94 + \item {\Bslash crescendo}, 61 + \item crescendos, 103 + \item {\Bslash csh}, 35 + \item {\Bslash csong}, 72 + \item {\Bslash cu}, 23, 65 + \item {\Bslash cup}, 26 + \item {\Bslash cupp}, 26 + \item {\Bslash cuppp}, 97 + \item {\Bslash curve}, 42 + + \indexspace + + \item {\Bslash dateaustrian}, 85 + \item {\Bslash dateenglish}, 85 + \item {\Bslash datefrench}, 85 + \item {\Bslash dategerman}, 85 + \item {\Bslash dateUSenglish}, 85 + \item {\Bslash dccccl}, 85 + \item {\Bslash dccccu}, 85 + \item {\Bslash dcccl}, 85, 95 + \item {\Bslash dcccu}, 85, 95 + \item {\Bslash dccl}, 85, 95 + \item {\Bslash dccu}, 85, 95 + \item {\Bslash dcl}, 85 + \item {\Bslash dclp}, 85 + \item {\Bslash dclpp}, 85 + \item {\Bslash dcqb}, 95 + \item {\Bslash dcql}, 95 + \item {\Bslash dcqu}, 95 + \item {\Bslash dcu}, 85 + \item {\Bslash dcup}, 85 + \item {\Bslash dcupp}, 85 + \item {\Bslash dczq}, 95 + \item {\sc Debussy, C.}, 103 + \item {\Bslash debutmorceau}, 83 + \item {\Bslash decrescendo}, 61 + \item default values, 70 + \item {\Bslash demisoupir}, 84 + \item {\Bslash DEP}, 59, 60 + \item {\Bslash Dep}, 60 + \item {\Bslash dfl}, 34, 37 + \item {\Bslash dgroff}, 88 + \item {\Bslash dhccl}, 95 + \item {\Bslash dhccu}, 95 + \item {\Bslash dhcl}, 95 + \item {\Bslash dhcu}, 95 + \item {\Bslash dhqb}, 95 + \item {\Bslash dhql}, 95 + \item {\Bslash dhqu}, 95 + \item {\Bslash dhsong}, 73 + \item {\Bslash dhzq}, 95 + \item {\Bslash diapunc}, 87 + \item {\Bslash diapunctumauctdown}, 87 + \item dictionnaire, 5 + \item {\Bslash dimen}, 15 + \item distribution, 14 + \item {\Bslash dnq}, 85 + \item {\Bslash doccl}, 95 + \item {\Bslash doccu}, 95 + \item {\Bslash docl}, 95 + \item {\Bslash docu}, 95 + \item {\Bslash documentstyle}, 81 + \item {\Bslash doqb}, 95 + \item {\Bslash doql}, 95 + \item {\Bslash doqu}, 95 + \item {\Bslash dotted}, 41 + \item {\Bslash doublebar}, 49 + \item {\Bslash doublethumb}, 62 + \item {\Bslash downbow}, 57, 96 + \item {\Bslash downtrio}, 62 + \item {\Bslash dozq}, 95 + \item dpi, 100 + \item {\Bslash dqb}, 85 + \item {\Bslash Dqbbl}, 31 + \item {\Bslash Dqbbu}, 31 + \item {\Bslash Dqbl}, 31 + \item {\Bslash Dqbu}, 31 + \item {\Bslash dql}, 85 + \item {\Bslash dqlp}, 85 + \item {\Bslash dqlpp}, 85 + \item {\Bslash dqu}, 85 + \item {\Bslash dqup}, 85 + \item {\Bslash dqupp}, 85 + \item {\Bslash Drtx}, 84 + \item drum clef, 78 + \item {\Bslash drumclef}, 78, 95 + \item {\Bslash ds}, 31, 86 + \item {\Bslash dsh}, 34, 37 + \item {\Bslash dsoupir}, 84 + \item {\Bslash Dtx}, 84 + \item {\Bslash duevolte}, 55 + \item {\Bslash Dwr}, 86 + \item {\Bslash dznq}, 85 + \item {\Bslash dzq}, 85 + \item {\Bslash dzqp}, 85 + \item {\Bslash dzqpp}, 85 + + \indexspace + + \item {\Bslash eeeer}, 86 + \item {\Bslash eeer}, 86 + \item {\Bslash eer}, 86 + \item {\Bslash eightpoint}, 96 + \item {\Bslash eject}, 49, 50 + \item {\Bslash elemskip}, 9, 21, 22, 34, 50 + \item em\TeX, 82 + \item {\Bslash en}, 6 + \item {\Bslash end}, 21 + \item {\Bslash endcatcodesmusic}, 82 + \item {\Bslash endextract}, 70, 82 + \item {\Bslash endmuflex}, 21 + \item {\Bslash Endpiece}, 10, 49, 83 + \item {\Bslash endpiece}, 10, 49, 52, 69, 82, 83 + \item {\Bslash endvolta}, 54 + \item {\Bslash endvoltabox}, 54 + \item {\Bslash end{\tt \char '173}music{\tt \char '175}}, 70 + \item {\Bslash enotes}, 6 + \item {\Bslash er}, 86 + \item {\Bslash everystaff}, 63 + \item {\Bslash extractline}, 70 + + \indexspace + + \item {\Bslash f}, 61 + \item FAQ, 98 + \item fermata, 60 + \item {\Bslash Fermatadown}, 60 + \item {\Bslash fermatadown}, 60 + \item {\Bslash Fermataup}, 60 + \item {\Bslash fermataup}, 60 + \item {\Bslash ff}, 61 + \item {\Bslash fff}, 61 + \item {\Bslash ffff}, 61 + \item {\Bslash finmorceau}, 83 + \item {\Bslash fl}, 34, 37 + \item {\Bslash flageolett}, 57 + \item flats, 18 + \item {\Bslash flushbottom}, 49 + \item {\Bslash fontbarno}, 46 + \item fonts, 100 + \item {\Bslash Footnote}, 97 + \item {\Bslash footnote}, 97 + \item footnotes, 97 + \item format, 100 + \item {\Bslash fp}, 61 + \item {\Bslash FR}, 96 + \item french violin clef, 18 + \item french.sty, 82 + \item {\tt french.sty}, 81 + \item {\Bslash freqbarno}, 45 + \item {\Bslash frtpoint}, 96 + \item full rest, 32 + \item {\Bslash fullauthor}, 97 + \item {\Bslash fulltitle}, 97 + + \indexspace + + \item {\sc Gaulle, B.}, 82 + \item {\Bslash GB}, 96 + \item {\Bslash Gb}, 96 + \item {\Bslash gbarre}, 93 + \item {\Bslash gdot}, 93 + \item general staff size, 65 + \item {\Bslash generalmeter}, 18, 19 + \item {\Bslash generalsignature}, 13, 18, 38, 49, 50 + \item {\Bslash geometricskipscale}, 22 + \item glossaire, 5 + \item glossary, 5 + \item {\sc Gounod, C.}, 66, 103 + \item {\sc Gouzes, A.}, 104 + \item grave accent, 35 + \item {\Bslash grcl}, 65 + \item {\Bslash grcu}, 65 + \item gregorian clefs, 76 + \item gregorian music, 69, 76, 86 + \item {\Bslash gregorianCclef}, 87 + \item {\Bslash gregorianFclef}, 87 + \item {\sc Grieg, E.}, 30 + \item {\Bslash groff}, 88 + \item {\Bslash groupbottom}, 19 + \item {\Bslash grouptop}, 19 + \item guillemets, 82 + \item {\Bslash guitar}, 93 + \item guitar tablature, 70 + \item guitar tablatures, 93 + \item GUTenberg, 82 + + \indexspace + + \item {\Bslash ha}, 23 + \item {\sc Haendel, G.F.}, 104 + \item half rest, 32 + \item hard spacing, 12, 34, 73 + \item hard width, 9 + \item {\Bslash hardlyrics}, 73, 104 + \item {\Bslash hardnotes}, 73 + \item {\Bslash hardspace}, 34, 71 + \item harmonic notes, 79 + \item {\sc Haydn, J.}, 64 + \item {\Bslash hb}, 29 + \item {\Bslash hbox}, 32 + \item {\Bslash hf}, 84 + \item {\Bslash Hidebarrule}, 47 + \item {\Bslash hidebarrule}, 47 + \item hihat, 95 + \item {\Bslash hl}, 21, 23, 25 + \item {\Bslash hloff}, 33 + \item {\Bslash Hlonga}, 95 + \item {\Bslash hlp}, 26 + \item {\Bslash hlpp}, 26 + \item {\Bslash hlppp}, 97 + \item {\Bslash hoffset}, 50, 96, 103 + \item {\Bslash Hpause}, 95 + \item {\Bslash hpause}, 31, 86 + \item {\Bslash hpausep}, 31, 86 + \item {\Bslash hqsk}, 33 + \item {\Bslash hr}, 86 + \item {\Bslash hroff}, 33 + \item {\Bslash hrp}, 86 + \item {\Bslash hs}, 31, 86 + \item {\Bslash hsize}, 50, 96 + \item {\Bslash hsk}, 30, 33 + \item {\Bslash hskip}, 33 + \item {\Bslash hsong}, 73 + \item {\Bslash hu}, 23 + \item {\Bslash hup}, 26 + \item {\Bslash hupp}, 26 + \item {\Bslash huppp}, 97 + + \indexspace + + \item {\Bslash Ibbbbbbl}, 84 + \item {\Bslash ibbbbbbl}, 84 + \item {\Bslash Ibbbbbbu}, 84 + \item {\Bslash ibbbbbbu}, 84 + \item {\Bslash Ibbbbbl}, 84 + \item {\Bslash ibbbbbl}, 84 + \item {\Bslash Ibbbbbu}, 84 + \item {\Bslash ibbbbbu}, 84 + \item {\Bslash Ibbbbl}, 31 + \item {\Bslash ibbbbl}, 26 + \item {\Bslash Ibbbbu}, 31 + \item {\Bslash ibbbbu}, 26 + \item {\Bslash Ibbbl}, 31 + \item {\Bslash ibbbl}, 26 + \item {\Bslash Ibbbu}, 31 + \item {\Bslash ibbbu}, 26, 27 + \item {\Bslash Ibbl}, 31 + \item {\Bslash ibbl}, 26 + \item {\Bslash Ibbu}, 31 + \item {\Bslash ibbu}, 26 + \item {\Bslash Ibl}, 31 + \item {\Bslash ibl}, 26, 27 + \item {\Bslash ibslurd}, 39 + \item {\Bslash ibsluru}, 39 + \item {\Bslash Ibu}, 31 + \item {\Bslash ibu}, 26 + \item {\sc Icking, W.}, 96 + \item {\Bslash icresc}, 61 + \item {\Bslash ignorenats}, 51 + \item INITEX, 100 + \item {\Bslash input}, 84, 103 + \item instrument, 17 + \item instrument number, 13 + \item {\Bslash instrumentnumber}, 17 + \item {\Bslash interbarrules}, 95 + \item {\Bslash interbeam}, 61, 68, 69 + \item {\Bslash interfacteur}, 69 + \item {\Bslash interinstrument}, 68, 69, 71, 72 + \item {\Bslash interinstrumentiii}, 68 + \item {\Bslash Interligne}, 67, 69 + \item {\Bslash Internote}, 67 + \item {\Bslash internote}, 67, 94 + \item {\Bslash interportee}, 68 + \item {\Bslash interportee+\tt \char '134interinstrument}, 68 + \item {\Bslash interstaff}, 68--70 + \item {\Bslash invertslur}, 43 + \item {\Bslash Ioctfindown}, 36 + \item {\Bslash ioctfindown}, 37 + \item {\Bslash Ioctfinup}, 36 + \item {\Bslash ioctfinup}, 37 + \item {\Bslash islurd}, 38, 39 + \item {\Bslash Islurdbreak}, 44 + \item {\Bslash isluru}, 38, 39 + \item {\Bslash Islurubreak}, 44 + \item {\Bslash isslurd}, 39 + \item {\Bslash issluru}, 39 + \item {\Bslash it}, 56, 96 + \item {\Bslash itenl}, 40 + \item {\Bslash itenu}, 40 + \item {\Bslash itied}, 39 + \item {\Bslash itieu}, 39 + \item {\Bslash ITrille}, 59 + \item {\Bslash Itrille}, 58 + \item {\Bslash itrille}, 59 + + \indexspace + + \item {\Bslash kccl}, 95 + \item {\Bslash kccu}, 95 + \item {\Bslash kcl}, 95 + \item {\Bslash kcu}, 95 + \item {\Bslash kern}, 33 + \item {\sc Kneifl, S.}, 100 + \item {\Bslash kqb}, 95 + \item {\Bslash kql}, 95 + \item {\Bslash kqu}, 95 + \item {\Bslash kzq}, 95 + + \indexspace + + \item {\Bslash Largemusicsize}, 17, 65, 70 + \item {\Bslash largemusicsize}, 17, 65, 70 + \item {\Bslash Largevalue}, 66 + \item {\Bslash largevalue}, 66 + \item {\Bslash larpeggio}, 58 + \item \LaTeX, 81 + \item \protect\LaTeX, 97 + \item {\Bslash lchar}, 55, 71 + \item {\Bslash lcharnote}, 55 + \item {\Bslash lcl}, 25 + \item {\Bslash lclimacus}, 90 + \item {\Bslash lclivis}, 89 + \item {\Bslash lcu}, 25 + \item {\Bslash ldfl}, 34 + \item {\Bslash ldsh}, 34 + \item ledger lines, 86 + \item {\Bslash leftrepeat}, 52, 53 + \item {\Bslash leftrightrepeat}, 52 + \item legal, 96 + \item {\Bslash let\tt \char '134extractline\tt \char '134hbox}, 70 + \item {\Bslash let\tt \char '134extractline\tt \char '134leftline}, + 70 + \item lexique, 5 + \item {\Bslash lfl}, 34 + \item {\Bslash lh}, 24 + \item {\Bslash lhl}, 25 + \item {\Bslash lhu}, 25 + \item {\Bslash lifthpause}, 32, 86 + \item {\Bslash lifthpausep}, 32 + \item {\Bslash lifthr}, 86 + \item lifting rests, 31 + \item {\Bslash Liftoctline}, 37 + \item {\Bslash liftpause}, 32, 86 + \item {\Bslash liftpausep}, 32 + \item {\Bslash Liftslur}, 43 + \item {\Bslash liftwr}, 86 + \item {\Bslash linegoal}, 11 + \item {\Bslash linesinpage}, 84 + \item liquescens neumes, 91 + \item {\Bslash llap}, 32 + \item {\Bslash lmidstaff}, 55 + \item {\Bslash lna}, 34 + \item {\Bslash loff}, 30, 33 + \item {\Bslash loffset}, 33 + \item {\Bslash longa}, 23 + \item {\Bslash longaa}, 23 + \item {\Bslash longledgerlines}, 86 + \item {\Bslash lpar}, 62 + \item {\Bslash lpodatus}, 89 + \item {\Bslash lpppt}, 97 + \item {\Bslash lppt}, 26 + \item {\Bslash lppz}, 57 + \item {\Bslash lpt}, 26 + \item {\Bslash lpz}, 57 + \item {\Bslash lpzst}, 57 + \item {\Bslash lq}, 24 + \item {\Bslash lql}, 25 + \item {\Bslash lqu}, 25 + \item {\Bslash lreprmorceau}, 83 + \item {\Bslash lsf}, 57 + \item {\Bslash lsfz}, 57 + \item {\Bslash lsh}, 34 + \item {\Bslash lsong}, 72 + \item {\Bslash lsqu}, 87 + \item {\Bslash lst}, 57 + \item {\Bslash lw}, 24 + \item lyrics, 68, 70, 82 + + \indexspace + + \item mailing list, 98 + \item {\Bslash maketitle}, 97 + \item {\sc Marcello, B.}, 104 + \item {\Bslash maxbarsinline}, 84 + \item {\Bslash maxlinesinpage}, 84 + \item {\Bslash maxoctlines}, 36 + \item {\Bslash maxtrills}, 58 + \item {\Bslash medtype}, 56 + \item meter, 7, 18 + \item {\Bslash meterC}, 18 + \item {\Bslash meterplus}, 18 + \item {\Bslash meterskip}, 19 + \item Metric (TFM) not found, 100 + \item {\Bslash metron}, 57 + \item {\Bslash mf}, 61 + \item {\Bslash MI}, 96 + \item {\Bslash Mi}, 96 + \item {\Bslash midslur}, 41 + \item {\Bslash Mordent}, 60 + \item {\Bslash mordent}, 60 + \item {\sc Mozart, W.A.}, 8 + \item {\Bslash mp}, 61 + \item MS-DOS, 14, 99, 102 + \item {\Bslash mulooseness}, 10, 11, 13, 50, 73, 76 + \item {\Bslash multnoteskip}, 22 + \item musical footnotes, 70 + \item {\Bslash musicparskip}, 50 + \item {\tt musixadd.tex}, 38 + \item {\tt musixadd.tex}, 16 + \item {\tt musixblx.tex}, 81 + \item {\tt musixcpt.tex}, 12, 59, 62, 83 + \item {\tt musixdat.tex}, 85 + \item {\tt musixdoc\underscoreSymbol lj.zip}, 99 + \item {\tt musixdoc\underscoreSymbol ps.zip}, 99 + \item {\tt musixexa.zip}, 99, 103 + \item {\tt musixfll.tex}, 86 + \item {\tt musixflx}, 11, 12, 22 + \item {\tt musixgui.tex}, 93 + \item {\tt musixltx.tex}, 81 + \item {\tt musixmad.tex}, 95 + \item {\tt musixper.tex}, 80 + \item {\tt musixpk.zip}, 99 + \item {\tt musixpk3.zip}, 99 + \item {\tt musixpk6.zip}, 99 + \item {\tt musixstr.tex}, 96 + \item {\tt musixsty.tex}, 96 + \item {\tt musixtex.sty}, 81 + \item {\tt musixtex.tex}, 16 + \item {\tt musixtri.tex}, 97 + \item \protect\mutex, 15 + \item {\Bslash mxversion}, 83 + + \indexspace + + \item {\Bslash na}, 34, 37 + \item name of the instrument, 19 + \item name of the voice, 19 + \item {\Bslash nbbbbbbl}, 84 + \item {\Bslash nbbbbbbu}, 84 + \item {\Bslash nbbbbbl}, 84 + \item {\Bslash nbbbbbu}, 84 + \item {\Bslash nbbbbl}, 27 + \item {\Bslash nbbbbu}, 27 + \item {\Bslash nbbbu}, 27 + \item {\Bslash nbbl}, 27 + \item {\Bslash nbbu}, 27 + \item neumes, 76, 86, 88, 94 + \item newsgroups, 98 + \item {\Bslash nextinstrument}, 82 + \item {\Bslash nextstaff}, 82 + \item {\Bslash nh}, 25 + \item {\Bslash nobarmessage}, 47 + \item {\Bslash nobarnumbers}, 45 + \item {\Bslash nolinemessages}, 47 + \item {\Bslash normalbottom}, 49 + \item {\Bslash normalmusicsize}, 17, 22, 65, 70 + \item {\Bslash normalnotesize}, 64 + \item {\Bslash normaltranspose}, 35 + \item {\Bslash normalvalue}, 66, 67 + \item {\Bslash normtype}, 56 + \item {\Bslash nostartrule}, 18 + \item {\Bslash nostemcut}, 62 + \item {\Bslash NOTEs}, 21 + \item {\Bslash NOTes}, 21 + \item {\Bslash NOtes}, 21, 22 + \item {\Bslash Notes}, 21 + \item {\Bslash notes}, 21, 22 + \item {\Bslash noteskip}, 21, 23, 26, 31, 33, 34, 50, 83, 95 + \item {\Bslash NOTesp}, 21 + \item {\Bslash NOtesp}, 21 + \item {\Bslash Notesp}, 21 + \item {\Bslash notesp}, 21 + \item {\Bslash nq}, 25 + \item {\Bslash nspace}, 33 + + \indexspace + + \item octave clefs, 78 + \item octaviation, 35 + \item {\Bslash octfindown}, 36 + \item {\Bslash octfinup}, 36 + \item {\Bslash octnumber}, 36 + \item {\Bslash OD}, 96 + \item {\Bslash Od}, 96 + \item {\Bslash off}, 34 + \item {\Bslash OH}, 96 + \item {\Bslash Oh}, 96 + \item {\Bslash oldGclef}, 94 + \item oriscus, 87 + \item {\Bslash oriscus}, 87 + \item ornament codings, 62 + \item ornaments, 60, 64 + \item {\Bslash othermention}, 97 + \item {\Bslash ovbkt}, 62, 63 + \item {\Bslash oxccl}, 95 + \item {\Bslash oxccu}, 95 + \item {\Bslash oxcl}, 95 + \item {\Bslash oxcu}, 95 + \item {\Bslash oxqb}, 95 + \item {\Bslash oxql}, 95 + \item {\Bslash oxqu}, 95 + \item {\Bslash oxzq}, 95 + + \indexspace + + \item {\Bslash p}, 61 + \item page and line layout (global), 50 + \item {\Bslash parindent}, 19, 21, 49, 50 + \item {\Bslash parskip}, 49 + \item {\Bslash PAUSe}, 31, 86 + \item {\Bslash PAuse}, 31, 86 + \item {\Bslash pause}, 31, 86 + \item {\Bslash pausep}, 31, 86 + \item PC end of line coding, 99 + \item {\Bslash PED}, 59, 60 + \item {\Bslash Ped}, 60 + \item percussion music, 65, 69, 77, 80 + \item {\Bslash pesquassus}, 89 + \item {\Bslash pesquassusauctdown}, 91 + \item {\Bslash piececont}, 97 + \item {\Bslash Pizz}, 96 + \item {\Bslash podatus}, 89 + \item {\Bslash podatusauctdown}, 91 + \item {\Bslash podatusauctup}, 91 + \item {\Bslash podatusdeminut}, 92 + \item {\Bslash podatusinitiodebilis}, 89 + \item {\Bslash Porrectus}, 89 + \item {\Bslash Porrectusauctdown}, 92 + \item {\Bslash Porrectusdeminut}, 93 + \item {\Bslash Porrectusflexus}, 90 + \item portato, 57 + \item {\Bslash pp}, 61 + \item {\Bslash ppff}, 56 + \item {\Bslash ppffsixteen}, 56 + \item {\Bslash ppfftwenty}, 56 + \item {\Bslash ppfftwentyfour}, 56 + \item {\Bslash ppp}, 61 + \item {\Bslash pppp}, 61 + \item {\Bslash pppt}, 26 + \item {\Bslash ppt}, 26 + \item {\Bslash preprmorceau}, 83 + \item {\Bslash pt $p$}, 26 + \item punctum, 87 + \item {\Bslash punctum}, 87 + \item punctum auctum, 87 + \item punctum deminutum, 87 + \item {\Bslash punctumauctdown}, 87 + \item {\Bslash punctumauctup}, 87 + \item {\Bslash punctumdeminutum}, 87 + + \indexspace + + \item {\Bslash qa}, 23 + \item {\Bslash qb}, 21, 27 + \item {\Bslash qbp}, 26 + \item {\Bslash qbpp}, 26 + \item {\Bslash qbppp}, 97 + \item {\Bslash qh}, 83 + \item {\Bslash ql}, 23 + \item {\Bslash qlp}, 26 + \item {\Bslash qlpp}, 26 + \item {\Bslash qlppp}, 97 + \item {\Bslash qp}, 31, 86 + \item {\Bslash Qqbbl}, 31 + \item {\Bslash Qqbbu}, 31 + \item {\Bslash Qqbl}, 31 + \item {\Bslash Qqbu}, 31 + \item {\Bslash qqs}, 31, 86 + \item {\Bslash qr}, 86 + \item {\Bslash Qrtx}, 84 + \item {\Bslash qs}, 31, 86 + \item {\Bslash qsk}, 33, 34 + \item {\Bslash qsoupir}, 84 + \item {\Bslash qspace}, 33 + \item {\Bslash Qtx}, 84 + \item {\Bslash qu}, 21, 23 + \item quilisma, 87 + \item {\Bslash quilisma}, 87 + \item {\Bslash quilismapes}, 89 + \item {\Bslash quilismapesauctdown}, 92 + \item {\Bslash qup}, 26 + \item {\Bslash qupp}, 26 + \item {\Bslash quppp}, 97 + \item {\Bslash Qwr}, 86 + + \indexspace + + \item {\Bslash raggedbottom}, 49 + \item {\Bslash raggedstoppiece}, 86 + \item {\Bslash raise}, 31 + \item {\Bslash raisebarno}, 46 + \item {\Bslash raiseguitar}, 94 + \item {\Bslash raiseped}, 60 + \item {\Bslash raisevolta}, 54 + \item {\Bslash rcl}, 25 + \item {\Bslash rcu}, 25 + \item relative accidentals, 13 + \item {\Bslash relativeaccid}, 38 + \item {\Bslash relax}, 12 + \item repeated patterns, 29 + \item {\Bslash reprmorceau}, 83 + \item {\Bslash resetclefsymbols}, 76, 78 + \item {\Bslash resetlayout}, 70 + \item rest lifting, 31 + \item {\Bslash reverseallabreve}, 18 + \item {\Bslash reverseC}, 18 + \item {\Bslash rh}, 24 + \item {\Bslash rhl}, 25 + \item {\Bslash rhu}, 25 + \item {\Bslash rightrepeat}, 52, 53 + \item {\Bslash rlap}, 32 + \item {\Bslash rm}, 56, 96 + \item {\Bslash roccl}, 95 + \item {\Bslash roccu}, 95 + \item {\Bslash rocl}, 95 + \item {\Bslash rocu}, 95 + \item {\Bslash roff}, 30, 33 + \item {\Bslash roffset}, 33 + \item {\Bslash roqb}, 95 + \item {\Bslash roql}, 95 + \item {\Bslash roqu}, 95 + \item {\Bslash rozq}, 95 + \item {\Bslash rpar}, 62 + \item {\Bslash rq}, 24 + \item {\Bslash rql}, 25 + \item {\Bslash rqu}, 25 + \item {\Bslash rsqu}, 87 + \item {\Bslash rtx}, 84 + \item {\Bslash rw}, 24 + + \indexspace + + \item {\Bslash salicus}, 91 + \item {\Bslash salicusauctdown}, 92 + \item {\Bslash salicusflexus}, 91 + \item {\sc Satie, E.}, 104 + \item scalable dimension, 34 + \item scalable values, 34 + \item {\Bslash scale}, 22 + \item {\Bslash scalenoteskip}, 22 + \item {\Bslash scandicus}, 90 + \item {\Bslash scandicusauctdown}, 92 + \item {\Bslash scandicusdeminut}, 93 + \item {\sc Schofer, A.}, 15 + \item {\sc Schumann, R.}, 103 + \item {\Bslash sDEP}, 59, 60 + \item {\Bslash sDep}, 60 + \item {\Bslash Segno}, 54 + \item {\Bslash segno}, 54 + \item {\Bslash sepbarrules}, 47 + \item {\Bslash setaltoclefsymbol}, 76, 78, 87 + \item {\Bslash setbassclefsymbol}, 76, 78 + \item {\Bslash setclef}, 17, 18, 51, 63, 76 + \item {\Bslash setclefsymbol}, 77, 78 + \item {\Bslash setdoubleBAR}, 49 + \item {\Bslash setdoublebar}, 49 + \item {\Bslash setemptybar}, 49 + \item {\Bslash setendvolta}, 53 + \item {\Bslash setendvoltabox}, 53, 54 + \item {\Bslash setinterinstrument}, 68, 69, 71 + \item {\Bslash setleftrepeat}, 52 + \item {\Bslash setleftrightrepeat}, 52 + \item {\Bslash setlines}, 70 + \item {\Bslash setmeter}, 19, 52 + \item {\Bslash setname}, 19 + \item {\Bslash setrightrepeat}, 52 + \item {\Bslash setsign}, 13, 50 + \item {\Bslash setsign$n$}, 38 + \item {\Bslash setsize}, 66 + \item {\Bslash setsize$n$}, 67 + \item {\Bslash setsongraise}, 72 + \item {\Bslash setstaffs}, 17, 71 + \item {\Bslash settrebleclefsymbol}, 78 + \item {\Bslash Setvolta}, 53 + \item {\Bslash setvolta}, 53 + \item {\Bslash setvoltabox}, 54 + \item {\Bslash sF}, 61 + \item sforzando, 57 + \item {\Bslash sh}, 34, 37 + \item {\Bslash Shake}, 60 + \item {\Bslash shake}, 60 + \item {\Bslash Shakel}, 60 + \item {\Bslash Shakene}, 60 + \item {\Bslash Shakenw}, 60 + \item {\Bslash Shakesw}, 60 + \item sharps, 18 + \item {\Bslash shiftbarno}, 46 + \item {\Bslash shortauthor}, 97 + \item {\Bslash shortbarrules}, 95 + \item {\Bslash shorttitle}, 97 + \item {\Bslash showallbarrules}, 48 + \item {\Bslash Showbarrule}, 47 + \item {\Bslash showbarrule}, 47 + \item signatures, 17 + \item sizes, 17 + \item {\Bslash sk}, 24, 33, 34 + \item {\Bslash sl}, 96 + \item {\Bslash slide}, 86 + \item {\Bslash slur}, 44 + \item {\Bslash smallaccid}, 35 + \item {\Bslash smallfl}, 35 + \item {\Bslash smallmusicsize}, 17, 22, 65, 70 + \item {\Bslash smallnotesize}, 64 + \item {\Bslash smallsh}, 35 + \item {\Bslash smalltype}, 56 + \item {\Bslash smallvalue}, 66 + \item soft width, 9 + \item {\Bslash softlyrics}, 73 + \item {\Bslash songbottom}, 19 + \item {\Bslash songtop}, 19 + \item {\Bslash soupir}, 31 + \item {\Bslash SP}, 96 + \item spacing, 7 + \item spacing note, 21 + \item {\Bslash sPED}, 59, 60 + \item {\Bslash sPed}, 60 + \item {\Bslash squ}, 87 + \item {\Bslash sslur}, 45 + \item staccato, 57 + \item staff line number, 69 + \item staff size, 65, 66 + \item staff spacing, 66 + \item {\Bslash staffbotmarg}, 49, 68--72 + \item {\Bslash staffspacing}, 66 + \item {\Bslash stafftopmarg}, 49, 68, 70, 94 + \item standard musical notation, 5 + \item {\Bslash startbarno}, 46 + \item {\Bslash startextract}, 70, 82 + \item {\Bslash startmuflex}, 20 + \item {\Bslash startpiece}, 21, 49, 52, 69, 70, 82--84, 97 + \item {\Bslash startrule}, 18 + \item {\Bslash stdbarrules}, 47 + \item {\Bslash stdstemfalse}, 62 + \item {\Bslash stdstemtrue}, 62 + \item {\sc Steinbach, A.}, 15 + \item {\Bslash stemcut}, 62 + \item {\Bslash stemfactor}, 69 + \item {\Bslash stemlength}, 61, 62, 69 + \item stems, 17 + \item {\Bslash stie}, 45 + \item {\Bslash Stoppiece}, 10, 49, 83 + \item {\Bslash stoppiece}, 10, 11, 49, 52, 69, 82, 83, 97 + \item string instruments, 96 + \item style, 81 + \item subbass, 17 + \item {\Bslash subtitle}, 97 + \item {\Bslash suspmorceau}, 83 + \item {\Bslash svtpoint}, 96 + \item {\Bslash systemheight}, 68 + \item {\Bslash systemnumbers}, 46 + \item {\sc Szukics, B.}, 87 + + \indexspace + + \item tabulation, 82 + \item {\Bslash tbbbbbbl}, 84 + \item {\Bslash tbbbbbbu}, 84 + \item {\Bslash tbbbbbl}, 84 + \item {\Bslash tbbbbbu}, 84 + \item {\Bslash tbbbbl}, 28 + \item {\Bslash tbbbbu}, 28 + \item {\Bslash tbbbl}, 28 + \item {\Bslash tbbbu}, 28 + \item {\Bslash tbbl}, 28 + \item {\Bslash tbbu}, 28 + \item {\Bslash tbl}, 27 + \item {\Bslash tbslurd}, 39 + \item {\Bslash tbsluru}, 39 + \item {\Bslash tbu}, 27 + \item {\Bslash tcresc}, 61 + \item {\Bslash tdecresc}, 61 + \item {\Bslash temps}, 84 + \item tenor violin clef, 63 + \item {\Bslash tenpoint}, 96 + \item {\Bslash tgccl}, 95 + \item {\Bslash tgccu}, 95 + \item {\Bslash tgcl}, 95 + \item {\Bslash tgcu}, 95 + \item {\Bslash tgqb}, 95 + \item {\Bslash tgql}, 95 + \item {\Bslash tgqu}, 95 + \item {\Bslash tgzq}, 95 + \item {\Bslash thelyrics}, 73 + \item {\Bslash thsong}, 73 + \item {\Bslash tie}, 45 + \item ties, 39 + \item {\Bslash tinynotesize}, 64 + \item {\Bslash tinyvalue}, 66 + \item {\Bslash title}, 97 + \item titles, 96 + \item {\Bslash Toctfin}, 36 + \item {\Bslash today}, 85 + \item {\Bslash torculus}, 89 + \item {\Bslash torculusauctdown}, 92 + \item {\Bslash torculusdebilis}, 93 + \item {\Bslash torculusdeminut}, 92 + \item {\Bslash torculusinitiodebilis}, 89 + \item {\Bslash tqb}, 27 + \item {\Bslash Tqbbl}, 31 + \item {\Bslash Tqbbu}, 31 + \item {\Bslash Tqbl}, 31 + \item {\Bslash Tqbu}, 31 + \item {\Bslash tqh}, 27 + \item traduction, 5 + \item {\Bslash transpose}, 13, 35, 37 + \item {\Bslash treble}, 18 + \item {\Bslash treblelowoct}, 78 + \item {\Bslash trebleoct}, 78 + \item {\Bslash trigonus}, 91 + \item {\Bslash Trille}, 58 + \item {\Bslash trille}, 58 + \item {\Bslash TrilleC}, 59 + \item {\Bslash trilleC}, 59 + \item {\Bslash TrilleX}, 59 + \item {\Bslash trilleX}, 59 + \item trills, 58 + \item {\Bslash triolet}, 58 + \item {\Bslash tristropha}, 88 + \item {\Bslash trivirga}, 88 + \item {\Bslash Trtx}, 84 + \item {\Bslash tslur}, 38, 39 + \item {\Bslash Tslurbreak}, 44 + \item {\Bslash tsslur}, 39 + \item {\Bslash tten}, 40 + \item {\Bslash ttie}, 39 + \item {\Bslash Ttrille}, 59 + \item {\Bslash tTrille}, 59 + \item {\Bslash ttrille}, 59 + \item {\Bslash Ttx}, 84 + \item {\Bslash turn}, 60 + \item {\Bslash twfvpoint}, 96 + \item {\Bslash twlpoint}, 96 + \item {\Bslash twtypoint}, 96 + \item {\Bslash tx}, 84 + \item {\Bslash txt}, 58, 62 + + \indexspace + + \item {\Bslash UD}, 96 + \item {\Bslash Ud}, 96 + \item {\Bslash UH}, 96 + \item {\Bslash Uh}, 96 + \item {\Bslash unbkt}, 62, 63 + \item {\Bslash upbow}, 57, 96 + \item {\Bslash upperfl}, 35 + \item {\Bslash upperna}, 35 + \item {\Bslash uppersh}, 35 + \item {\Bslash uppz}, 57 + \item {\Bslash Uptext}, 54, 55, 57 + \item {\Bslash uptext}, 55 + \item {\Bslash uptrio}, 62 + \item {\Bslash upz}, 57 + \item {\Bslash upzst}, 57 + \item {\Bslash usf}, 57 + \item {\Bslash usfz}, 57 + \item {\Bslash ust}, 57 + + \indexspace + + \item {\Bslash vadjust}, 63 + \item {\Bslash varaccid}, 35 + \item {\Bslash varline}, 62 + \item {\Bslash vfootnote}, 97 + \item violin, 96 + \item violin clef, 18, 51 + \item violin harmonic notes, 65 + \item virga, 87 + \item {\Bslash virga}, 87 + \item {\Bslash voffset}, 50, 96, 103 + \item voices, 68 + \item {\Bslash voltadot}, 54 + \item {\Bslash vsize}, 50, 96 + + \indexspace + + \item {\Bslash wh}, 23 + \item {\Bslash wholeshift}, 57 + \item {\Bslash whp}, 26 + \item {\Bslash whpp}, 26 + \item {\Bslash whppp}, 97 + \item {\sc Widor, C.M.}, 104 + \item {\Bslash wq}, 23 + \item {\Bslash wqq}, 23 + \item {\Bslash wr}, 86 + \item {\Bslash writebarno}, 46 + \item {\Bslash writethebarno}, 46 + \item {\Bslash writezbarno}, 46 + \item {\Bslash wrp}, 86 + + \indexspace + + \item {\Bslash xbar}, 49 + \item {\Bslash xccl}, 95 + \item {\Bslash xccu}, 95 + \item {\Bslash xcl}, 95 + \item {\Bslash xcu}, 95 + \item {\Bslash xqb}, 95 + \item {\Bslash xql}, 95 + \item {\Bslash xqu}, 95 + \item {\Bslash xtuplet}, 58 + \item {\Bslash xzq}, 95 + + \indexspace + + \item {\Bslash yccccl}, 85 + \item {\Bslash yccccu}, 85 + \item {\Bslash ycccl}, 85 + \item {\Bslash ycccu}, 85 + \item {\Bslash yccl}, 85 + \item {\Bslash yccu}, 85 + \item {\Bslash ycl}, 85 + \item {\Bslash yclp}, 85 + \item {\Bslash yclpp}, 85 + \item {\Bslash ycu}, 85 + \item {\Bslash ycup}, 85 + \item {\Bslash ycupp}, 85 + \item {\Bslash ynq}, 85 + \item {\Bslash yqb}, 85 + \item {\Bslash yql}, 85 + \item {\Bslash yqlp}, 85 + \item {\Bslash yqlpp}, 85 + \item {\Bslash yqu}, 85 + \item {\Bslash yqup}, 85 + \item {\Bslash yqupp}, 85 + \item {\Bslash yzq}, 85 + \item {\Bslash yzqp}, 85 + \item {\Bslash yzqpp}, 85 + + \indexspace + + \item {\Bslash zalaligne}, 10, 49 + \item {\Bslash zalapage}, 10, 49 + \item {\Bslash zapostropha}, 87 + \item {\Bslash zbar}, 49 + \item {\Bslash zbreath}, 60 + \item {\Bslash zbreve}, 25 + \item {\Bslash zcccccl}, 84 + \item {\Bslash zcccccu}, 84 + \item {\Bslash zccccl}, 25 + \item {\Bslash zcccclp}, 96 + \item {\Bslash zcccclpp}, 96 + \item {\Bslash zccccu}, 25 + \item {\Bslash zccccup}, 96 + \item {\Bslash zccccupp}, 96 + \item {\Bslash zcccl}, 25 + \item {\Bslash zccclp}, 96 + \item {\Bslash zccclpp}, 96 + \item {\Bslash zcccu}, 25 + \item {\Bslash zcccup}, 96 + \item {\Bslash zcccupp}, 96 + \item {\Bslash zccl}, 25 + \item {\Bslash zcclp}, 96 + \item {\Bslash zcclpp}, 96 + \item {\Bslash zccu}, 25 + \item {\Bslash zccup}, 96 + \item {\Bslash zccupp}, 96 + \item {\Bslash zchangeclefs}, 51 + \item {\Bslash zchangecontext}, 51, 52 + \item {\Bslash zchar}, 54, 55, 60, 71 + \item {\Bslash zcharnote}, 8, 54, 55, 60, 63, 71 + \item {\Bslash zcl}, 25 + \item {\Bslash zclp}, 26 + \item {\Bslash zclpp}, 26 + \item {\Bslash zclppp}, 97 + \item {\Bslash zcu}, 25 + \item {\Bslash zcup}, 26 + \item {\Bslash zcupp}, 26 + \item {\Bslash zcuppp}, 97 + \item {\Bslash zdiapunc}, 87 + \item {\Bslash zendextract}, 70 + \item {\Bslash zh}, 24 + \item {\Bslash zhl}, 25 + \item {\Bslash zhlp}, 26 + \item {\Bslash zhlpp}, 26 + \item {\Bslash zhlppp}, 97 + \item {\Bslash zhp}, 26 + \item {\Bslash zhpp}, 26 + \item {\Bslash zhppp}, 97 + \item {\Bslash zhu}, 25 + \item {\Bslash zhup}, 26 + \item {\Bslash zhupp}, 26 + \item {\Bslash zhuppp}, 97 + \item {\Bslash zlonga}, 25 + \item {\Bslash zlsqu}, 87 + \item {\Bslash zmaxima}, 23, 25 + \item {\Bslash zmidstaff}, 55 + \item {\Bslash znh}, 25 + \item {\Bslash znotes}, 21 + \item {\Bslash znq}, 25 + \item {\Bslash zoriscus}, 87 + \item {\Bslash zq}, 7, 24 + \item {\Bslash zqb}, 25 + \item {\Bslash zqbp}, 26 + \item {\Bslash zqbpp}, 26 + \item {\Bslash zqbppp}, 97 + \item {\Bslash zql}, 25 + \item {\Bslash zqlp}, 26 + \item {\Bslash zqlpp}, 26 + \item {\Bslash zqlppp}, 97 + \item {\Bslash zqp}, 26 + \item {\Bslash zqpp}, 26 + \item {\Bslash zqppp}, 97 + \item {\Bslash zqu}, 25 + \item {\Bslash zqup}, 26 + \item {\Bslash zqupp}, 26 + \item {\Bslash zquppp}, 97 + \item {\Bslash zrsqu}, 87 + \item {\Bslash zsong}, 72 + \item {\Bslash zsqu}, 87 + \item {\Bslash zstoppiece}, 10, 49 + \item {\Bslash ztqb}, 27 + \item {\Bslash ztqh}, 27 + \item {\Bslash zw}, 25 + \item {\Bslash zwp}, 26 + \item {\Bslash zwpp}, 26 + \item {\Bslash zwppp}, 97 + \item {\Bslash zwq}, 25 + \item {\Bslash zynq}, 85 + +\end{theindex} diff --git a/Master/texmf-dist/tex/generic/musixtex/musixlit.tex b/Master/texmf-dist/tex/generic/musixtex/musixlit.tex index 9aab23b20b9..bee5ab5edbc 100644 --- a/Master/texmf-dist/tex/generic/musixtex/musixlit.tex +++ b/Master/texmf-dist/tex/generic/musixtex/musixlit.tex @@ -17,7 +17,7 @@ % Boston, MA 02111-1307, USA. % -\immediate\write10{MusiXLITurgical 0.36\space<1 March 1995>}% +\immediate\write16{MusiXLITurgical 0.36\space<1 March 1995>}% \ifx\undefined\oldGclef \else \endinput \fi diff --git a/Master/texmf-dist/tex/generic/musixtex/musixltx.tex b/Master/texmf-dist/tex/generic/musixtex/musixltx.tex index 18bb6083f4b..f4eff2cf23c 100644 --- a/Master/texmf-dist/tex/generic/musixtex/musixltx.tex +++ b/Master/texmf-dist/tex/generic/musixtex/musixltx.tex @@ -18,7 +18,7 @@ % \ifx\undefined\music \else \endinput \fi -\immediate\write10{MusiXLaTeX T.61\space<25 September 1996>}% +\immediate\write16{MusiXLaTeX T.61\space<25 September 1996>}% \newenvironment{music}{\@afterindenttrue\parskip0pt\catcodesmusic \resetlayout}{}% diff --git a/Master/texmf-dist/tex/generic/musixtex/musixlyr.tex b/Master/texmf-dist/tex/generic/musixtex/musixlyr.tex new file mode 100644 index 00000000000..753928bf99c --- /dev/null +++ b/Master/texmf-dist/tex/generic/musixtex/musixlyr.tex @@ -0,0 +1,1162 @@ +%% +%% musixlyr.tex: Convenient lyrics handling for MusiXTeX T.52 or later +%% +%% Copyright (C) 1996-2003 Rainer Dunker +%% +%% This program is free software; you can redistribute it and/or modify +%% it under the terms of the GNU General Public License as published by +%% the Free Software Foundation; either version 2 of the License, or +%% any later version. +%% +%% This program is distributed in the hope that it will be useful, +%% but WITHOUT ANY WARRANTY; without even the implied warranty of +%% MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the +%% GNU General Public License for more details. +%% +%% You should have received a copy of the GNU General Public License +%% along with this program; if not, write to the Free Software +%% Foundation, Inc., 675 Mass Ave, Cambridge, MA 02139, USA. +%% +%% Author: +%% Rainer Dunker +%% Wachtelweg 31 +%% 85591 Vaterstetten +%% Germany +%% +%% E-mail: rainer.dunker@web.de +%% +\ifx\undefined\lyr\else\endinput\fi +\immediate\write10{MusiXLYRics 2.1c\space} +\def\musixlyrversion{2.12} + +\makeatletter + +%%%%%%%%%% +% +% register allocation +% +%%%%%%%%%% +\newtoks\alle@texte + +% internal parameters for setting text +\let\evtl@klein\empty +\let\evtl@komma\empty +\let\evtl@punktweg\empty +\let\evtl@offset\empty +\let\evtl@next@lyr\empty +\newif\if@strich +\newif\iflyr@processing +\newif\if@pmx@nextvoice +\newif\if@lyrmode +\newif\if@hyphen +\newif\ifaux@active +\newif\if@single@token +\newdimen\lyr@shift +\newbox\lyr@box +\newbox\lyr@hyphen@box +\newbox\lyr@linkbox +\newbox\lyr@linkdepthbox +\def\ma@sw{lyr@m} % "main/aux switch" + +% helpers for shuffling data around +\newtoks\@rohtext +\newtoks\@textvar + +\let\text@name\empty + +% public parameters +\newif\ifleftlyr +\newif\ifforcelyrhyphens +\newif\ifshowlyrshift +\newdimen\minlyrrulelength \minlyrrulelength=2mm +\newdimen\minmulthyphens \minmulthyphens=1.5cm +\newdimen\minlyrspace \minlyrspace=3pt +\def\lyrhyphenchar{-} +\newbox\lyrstrutbox +\def\lyrlinestartpos{-10cm } +\def\oldlyrlinestart{\def\lyrlinestartpos{0pt }} % to restore 2.1 behaviour + +\def\lyrlog#1{\immediate\write16{#1}} % just for debugging convenience + +% for testing token lists for emptyness with \ifx +\def\emp@tst{\empty@test@errmsg} +\def\empty@test@errmsg{% + \errmessage{This shouldn't happen; you have found a musixlyr bug}} + +%%%%%%%%%% +% +% lyrics definition +% +%%%%%%%%%% +% set up text completely +\def\setlyrics#1#2{% iterative variant + % Parameter: + % #1 - lyrics line name + % #2 - text + \@rohtext={#2 -}% + \@textvar={}% + %\lyrlog{setlyrics{#1}, raw text: \the\@rohtext}% + \loop + \expandafter\ifx\expandafter\emp@tst\the\@rohtext\emp@tst % no more text + \let\@weiter n\else \let\@weiter j% + \fi + \ifx\@weiter j% + \expandafter\split@lyr@by@hyphens\the\@rohtext\@end + \repeat + \expandafter\xdef\csname dertext@#1\endcsname{\the\@textvar}% + \expandafter\xdef\csname nochtext@#1\endcsname{\the\@textvar}% + %\lyrlog{setlyrics{#1}: \the\@textvar}% + \initialize@verse{#1}} + +\def\appendlyrics#1#2{% iterative variant + % Parameter: + % #1 - lyrics line name + % #2 - text + % test whether lyrics line name already defined + \expandafter\ifx\csname stp@#1\endcsname\relax + % if not: set it up newly + \setlyrics{#1}{#2}% + \else + % if yes: preprocess new material, then append it to existing stuff + \@rohtext={#2 -}% + \@textvar={}% + %\lyrlog{appendlyrics{#1}, raw text: \the\@rohtext}% + \loop + \expandafter\ifx\expandafter\emp@tst\the\@rohtext\emp@tst % no more text + \let\@weiter n\else \let\@weiter j% + \fi + \ifx\@weiter j% + \expandafter\split@lyr@by@hyphens\the\@rohtext\@end + \repeat + % + % properly append new material to \dertext@#1 + \toks@=\expandafter\expandafter\expandafter{\csname dertext@#1\endcsname}% + \expandafter\test@final@hyphen@i\the\toks@\@end + \expandafter\xdef\csname dertext@#1\endcsname{\the\toks@\the\@textvar}% + % + % properly append new material to \nochtext@#1 + \toks@=\expandafter\expandafter\expandafter{\csname nochtext@#1\endcsname}% + \expandafter\ifx\expandafter\emp@tst\the\toks@\emp@tst + % pending text empty - don't call \test@final@hyphen + \else + \expandafter\test@final@hyphen@i\the\toks@\@end + \fi + \expandafter\xdef\csname nochtext@#1\endcsname{\the\toks@\the\@textvar}% + %\lyrlog{appendlyrics{#1}: \the\@textvar}% + \fi} + +% separate hyphens from syllables +\def\split@lyr@by@hyphens#1-#2\@end{% + % #1: text before first hyphen + % #2: text after first hyphen; may be empty + \ifx\emp@tst#2\emp@tst % -> no hyphen present + \@textvar=\expandafter{\the\@textvar#1}% + \else % -> hyphen present + \@textvar=\expandafter{\the\@textvar#1 @}% + \fi + \@rohtext={#2}% + %\lyrlog{splitlyrics 1: \the\@textvar}% + %\lyrlog{splitlyrics 2: \the\@rohtext}% + } + +% helper macros for \appendlyrics, handling the case that pre-existing +% lyrics material ends with an open hyphen +\def\test@final@hyphen@i#1 \@end{% + % truncate trailing space, then proceed with detecting a trailing @ + \test@final@hyphen@ii#1@@\@end} +\def\test@final@hyphen@ii#1@@#2\@end{% + \ifx\emp@tst#2\emp@tst + % no trailing, open hyphen + %\lyrlog{No trailing hyphen: #1}% + \else + % reset \toks@ so that trailing @ is not longer followed by a space + \toks@={#1@}% + %\lyrlog{Trailing hyphen: #1}% + \fi} + +% copy whole text under different name +\def\copylyrics#1#2{% + % #1 - existing text name + % #2 - new text name + % text still undefined? + \expandafter\ifx\csname dertext@#1\endcsname\relax + \errmessage{Trying to copy undefined verse "#1" to "#2"}% + \setlyrics{#2}{UNDEFINED}% + \else + \expandafter\let\expandafter\text@copy\csname dertext@#1\endcsname + \global\expandafter\let\csname dertext@#2\endcsname\text@copy + \global\expandafter\let\csname nochtext@#2\endcsname\text@copy + \initialize@verse{#2}% + \fi} + +% at 1st definition of a text name +\def\initialize@verse#1{% + % test whether lyrics line name already defined + \expandafter\ifx\csname stp@#1\endcsname\relax + \expandafter\xdef\csname stp@#1\endcsname{\lyrlinestartpos}% tracks horizontal progress + \global\expandafter\let\csname cont@#1\endcsname\relax% context stuff + \expandafter\gdef\csname zwr@#1\endcsname{0}% flag for hyphen/rule status + % for layout definitions + \global\expandafter\let\csname llay@#1\endcsname\relax + % switch on auto-text + {\def\text@name{#1}\lyricson}% + % insert in list of all defined text names + \global\alle@texte=\expandafter{\the\alle@texte#1,}% + \fi} + +% just for more elegance ... +\def\if@multistaff{\ifnum\st@ffs>1 } + +\def\set@texte#1#2{% + % assign assigned lyrics lines to \@texte + % or \empty in case they are empty + % #1: instrument number + % #2: staff number of instrument + \expandafter\let\expandafter\@texte\csname\ma@sw#1-#2\endcsname + \ifx\@texte\relax\let\@texte\empty\fi} + +\def\set@texte@current#1{% + % apply \set@texte to current context + % using PMX, automatically switch to aux lyrics where required + \switch@pmx@aux{% + % get the verses + \ifnum\st@ffs>1 % multi-staff instrument + \set@texte{\the\noinstrum@nt}{\the\noport@@}% + \else + \set@texte{\the\noinstrum@nt}{1}% + \fi + % perform given action + #1}} + +\def\loop@texte#1\@repeat{% + % assumption: \@texte is already set properly, may be empty + % #1: action to be executed + \ifx\@texte\empty\else + \expandafter\loop@texte@step\@texte\@end{#1}% + \fi} + +\def\loop@texte@step#1,#2\@end#3{% + % assumption: text list is not empty, #1 contains list head + % #1: text list head + % #2: text list tail + % #3: action to be executed + % + % perform action on first text + \def\text@name{#1}% + #3\relax + % + % prepare iteration + \ifx\emp@tst#2\emp@tst % list tail empty + \let\@iterate \empty % stop looping + \let\text@name\empty % reset working environment + \else + \def\@iterate{\loop@texte@step#2\@end{#3}}% + \fi + \@iterate} + +% assign text name to staff +\def\assignlyrics#1{% for single-staff instruments + % #1: instrument number + \assignlyricsmulti{#1}1} + +\def\assignlyricshere#1{% assign lyrics to current instrument/staff context + % #1: comma-separated list of text names + \switch@pmx@aux{% + \ifnum\st@ffs>1 % multi-staff instrument + \assignlyricsmulti{\the\noinstrum@nt}{\the\noport@@}{#1}% + \else + \assignlyrics{\the\noinstrum@nt}{#1}% + \fi}} + +\def\assignlyricsmulti#1#2#3{% + % #1: instrument number + % #2: staff number of instrument + % #3: comma-separated list of text names + % gather farthest right current position + % of currently assigned lyrics lines + \y@v=\lyrlinestartpos + \set@texte{#1}{#2}% + \loop@texte + % starting position greater than retrieved so far? + \ifdim\csname stp@\text@name\endcsname > \y@v + \y@v=\csname stp@\text@name\endcsname % advance maximum + \fi + \@repeat + % + % new text names list non-empty -> append comma + \ifx\emp@tst#3\emp@tst + \expandafter\global\expandafter\let\csname\ma@sw#1-#2\endcsname\relax + \else + \expandafter\gdef\csname\ma@sw#1-#2\endcsname{#3,}% + \fi + % set parameters according to newly assigned lyrics lines + \set@texte{#1}{#2}% + \loop@texte + % check for existence + \expandafter\ifx\csname stp@\text@name\endcsname\relax + \errmessage{Trying to assign undefined verse "\text@name"}% + \expandafter\setlyrics\expandafter{\text@name}{EMPTY}% + \fi + \reset@params + \@repeat} + + +\def\reset@params{% + \expandafter\xdef\csname stp@\text@name\endcsname{\the\y@v}% + \expandafter\gdef\csname zwr@\text@name\endcsname{0}} + + +% +% reset horizontal positioning parameters of all lyrics lines +% +\def\resetlyrics{% + \edef\@texte{\the\alle@texte}% + \y@v=\lyrlinestartpos + \loop@texte \reset@params \@repeat} + + +%%%%%%%%%% +% +% process lyrics verse-wise +% +%%%%%%%%%% +% same action for all assigned verses +\def\forall@verses#1{% + % #1: action to be executed + \ifx\text@name\empty + % perform action for all assigned verses + \set@texte@current{% + \ifx\@texte\empty\else + \vplace@lyrics{\loop@texte \hbox{\lyr@strut #1}\@repeat}% + \fi}% + \else + % text name already selected -> perform action for this one only + #1% + \fi} + + +% specify separate actions per verse +\def\verses#1{% + % #1: comma-separated list of actions (from top to bottom) + \set@texte@current{% + \def\@param{#1}% running variable for per-text actions + \vplace@lyrics{% + \loop@texte \expandafter\one@verse\@param,\@end \@repeat}}} + +\def\one@verse#1,#2\@end{% + % #1: action list head = action for current verse + % #2: action list tail = actions for remaining verses + \def\@param{#2}% + % perfrom action + \hbox{\lyr@strut #1}} + + +%%%%%%%%%% +% +% line spacing for multiple verses +% +%%%%%%%%%% +\def\lyr@strut{\copy\lyrstrutbox} +\def\setlyrstrut{% set up strut according to currently active font + \setbox0=\hbox{()}% + \setbox\lyrstrutbox=\hbox{\vrule height 1.1\ht0 depth 1.1\dp0 width\z@}} +\setlyrstrut % initialize + + +%%%%%%%%%% +% +% retrieve text by syllable +% +%%%%%%%%%% +\def\next@lyr{% + \expandafter\let\expandafter\@nochtext\csname nochtext@\text@name\endcsname + %\show\@nochtext + \ifx\@nochtext\empty + % no more text + \@hyphenfalse\@lyric{???}% + \else + \@textvar=\expandafter{\@nochtext}% + \expandafter\next@syllable\the\@textvar\relax\relax + \fi} + +\def\next@syllable#1 #2#3\relax{% + % #1 - first syllable + % #2 - either hyphenation symbol @ + % or \relax (if text ends after #2) + % or 1st char/group of rest text + % #3 - rest text, may be empty + \parse@melisma{#2}{#3}#1_\@end} + +\def\test@single@token#1#2\@end{% + % #2 is empty if argument consists of a single token + \ifx\emp@tst#2\emp@tst + \@single@tokentrue + \else + \@single@tokenfalse + \fi} + +\def\parse@melisma#1#2#3_#4\@end{% parse trailing underscores + % #1: either hyphenation indicator @ + % or \relax (if text ends after #1), + % or 1st char/group of rest text + % #2: rest text, may be empty + % #3: current syllable; may be empty if melisma pending + % #4: trailing underscores, if any, or + % melisma notes number followed by single underscore, or + % empty if no melisma + % + % evaluate hyphenation sign + \ifx @#1% + \@hyphentrue + \@textvar={#2}% may be empty + \else + \@hyphenfalse + % decide rest text (#1 was no hyphen sign) + \ifx\relax#1% current syllable is final syllable + \@textvar={}% + \else + \test@single@token#1\@end % #1 may have been grouped + \if@single@token + \@textvar={#1#2}% + \else + \@textvar={{#1}#2}% + \fi + \fi + \fi + % + % melisma pending? + \ifx\emp@tst#4\emp@tst % no melisma + \let\melisma@spec\empty + \@lyric{\evtl@klein{\evtl@punktweg{#3}}\evtl@komma}% + \else % melisma + \ifx\emp@tst#3\emp@tst % syllable empty, d.i. in mid-melisma + \parse@melisma@tail#4\@end + \ifx\melisma@spec\empty % final melisma note + \lyrruleend + \fi + \else % syllable non-empty, d.i. at melisma start + \leftlyrtrue\@strichtrue + \parse@melisma@start#4\@end + \@lyric{\evtl@klein{\evtl@punktweg{#3}}\evtl@komma}% + \fi % at melisma start + \fi % in melisma + % + % set remaining text + \expandafter\xdef + \csname nochtext@\text@name\endcsname{\melisma@spec\the\@textvar}} + +\def\parse@melisma@start#1_\@end{% + % Cut trailing underscore and attach it at argument head. + % For underscore sequences, the effect is void. + % For numbers, it converts "num_" to "_num". + % Moreover, append a single space. + \def\melisma@spec{_#1 }} + +\def\parse@melisma@tail#1_\@end{% + % #1: either trailing underscores minus one + % or melisma notes number + % or empty + \ifx\emp@tst#1\emp@tst % no more underscores + \let\melisma@spec\empty + \else + \parse@melisma@tail@ii#1\@end + \fi} + +\def\parse@melisma@tail@ii#1#2\@end{% helper for deciding melisma spec type + % #1#2: either trailing underscores minus one + % or melisma notes number + \if#1_% % underscore sequence given + \def\melisma@spec{#1#2 }% + \else % number given + \ifnum#1#2>1 % more melisma notes pending + \count@=#1#2 + \advance\count@\m@ne + \edef\melisma@spec{_\the\count@\space}% + \else % no more melisma notes + \let\melisma@spec\empty + \fi + \fi} + +\def\@lyric#1{% + % #1: Text + \evtl@offset + % Alles Folgende ist Argument fuer obiges \evtl@offset: + {\csname llay@\text@name\endcsname% Layoutkontext abrufen + \lyr@processingtrue + \setbox\lyr@box=\hbox{#1}% + \setbox\lyr@hyphen@box=\hbox{\lyrhyphenchar}% + % Zwischenraum zu voriger Silbe ermitteln: + \get@lyrspace + \ifleftlyr\else + % Silbe zentriert -> Zwischenraum entspr. kleiner: + \advance\y@v -0.5\wd\lyr@box + \advance\y@v 0.5\qn@width % halbe Notenkopfbreite dazu + \fi + % Bindestrich von voriger Silbe anhaengig? + \expandafter\ifnum\csname zwr@\text@name\endcsname=2 + % Minimalzwischenraum entsprechend aendern: + \ifforcelyrhyphens + % Min. Zw.-R. mindestens so breit wie Bindestrich: + \ifdim\minlyrspace < \wd\lyr@hyphen@box + \minlyrspace=\wd\lyr@hyphen@box + \fi + \else + \minlyrspace=0pt % % kein Zwischenraum noetig + \fi + \fi + \ifdim\y@v < \minlyrspace % Zwischenraum zu klein? + \lyr@shift=\minlyrspace % Silbe um Differenz nach rechts verschieben + \advance\lyr@shift -\y@v + \y@v=\minlyrspace % Zwischenraumbreite = geg. Minimum + \else + \expandafter\ifnum\csname zwr@\text@name\endcsname=2 % Bindestrich anhaengig? + \ifforcelyrhyphens\else % Bindestrich nicht erzwungen? + \ifdim\y@v < \wd\lyr@hyphen@box % Zwischenraum zu schmal? + \advance\lyr@shift -\y@v % => Zw.raum ganz wegnehmen + % Dank an Sebastian Clauss fuer diese Verbesserung + \fi + \fi + \fi + \fi + \rlap{% + \hskip\lyr@shift + {\ifleftlyr + \aftergroup\rlap % linksbuendig + \else + \aftergroup\qlrlap % zentriert + \fi}% + % Alles Folgende ist Argument fuer obiges \qlrlap bzw. \rlap: + {% Ist von voriger Silbe noch ein Bindestrich anhaengig? + \expandafter\ifnum\csname zwr@\text@name\endcsname=2 + % limit hyphens at line beginning to zero position + \ifdim\csname stp@\text@name\endcsname < \z@ + \advance\y@v \csname stp@\text@name\endcsname \fi + % Bindestrich nur setzen, wenn Platz genug vorhanden: + \ifdim\y@v < \wd\lyr@hyphen@box\else + \print@hyphen + \fi + \fi + \ifshowlyrshift + % Mit Rechteck Wortverschiebung zeigen: + \llap{\vrule width \lyr@shift height \ht\strutbox}% + \fi + \unhcopy\lyr@box % Wort setzen + % Startposition des nachfolgenden Zwischenraums festhalten: + \getcurpos + \advance\y@v by \lyr@shift + \ifleftlyr + \advance\y@v \wd\lyr@box + \else + \advance\y@v 0.5\wd\lyr@box + \advance\y@v 0.5\qn@width % halbe Notenkopfbreite dazu + \fi + \expandafter\xdef\csname stp@\text@name\endcsname{\the\y@v}% Startposition setzen + \if@hyphen % Bindestrich gefordert? + \expandafter\gdef\csname zwr@\text@name\endcsname{2}% + \else + \if@strich % Verlaengerungs-Strich gefordert? + \expandafter\gdef\csname zwr@\text@name\endcsname{1}% + \else % nichts gefordert + \expandafter\gdef\csname zwr@\text@name\endcsname{0}% + \fi + \fi}}}} + +\def\print@hyphen{% + \llap{\hbox to \y@v{% + % Zwischenraum mit "Strich-Kette" ausfuellen: + \loop + \hfil\lyrhyphenchar\hss% rechter Raum darf am Systemende negativ werden + \advance\y@v by -\minmulthyphens + \ifdim\y@v > 0pt% + \repeat}}} + +\def\get@lyrspace{% + \getcurpos + \advance\y@v by -\csname stp@\text@name\endcsname + \relax} + +% set lyrpos to zero if less than that +\def\limit@lyrpos{% + \ifdim\csname stp@\text@name\endcsname < \z@ + \expandafter\xdef\csname stp@\text@name\endcsname{\the\z@}\fi} + +% Verlaengerungs-Striche abschliessen: +\def\lyrruleend{\forall@verses\lyrrule@end} + +\def\lyrrule@end{% + \expandafter\ifcase\csname zwr@\text@name\endcsname + % 0 -> kommt nicht vor + \or + % 1 -> Strich anhaengig: + \roff{% Zum rechten Notenkopf-Rand + \limit@lyrpos\get@lyrspace \print@lyr@rule + % Zwischenraum-Startposition festhalten, wenn Wort nicht nach + % rechts darueber hinausragt: + \getcurpos + \ifdim\csname stp@\text@name\endcsname < \y@v + \expandafter\xdef\csname stp@\text@name\endcsname{\the\y@v}% + \fi}% + % Einstellung zuruecksetzen: + \expandafter\gdef\csname zwr@\text@name\endcsname{0}% + \or + % 2 -> Bindestrich anhaengig -> nichts tun + \or + % 3 -> fortgesetzter Bindestrich anhaengig + % -> Einstellung fuer Bindestrich-Einfuegen an nächster Note setzen + \expandafter\gdef\csname zwr@\text@name\endcsname{2}% + \fi} + +\def\print@lyr@rule{% + % Kleiner Zwischenraum zur vorherigen Silbe: + \advance\y@v -2pt + \ifdim \y@v > \minlyrrulelength + \llap{\vrule\@width\y@v\@height\lthick\@depth0pt}% + \fi} + + +%%%%%%%%%% +% +% Textstellen per Label anspringen +% +%%%%%%%%%% +\def\llabel#1{}% Damit Kennzeichnung bei der Ausgabe ohne Effekt bleibt + +\def\golyr#1{\forall@verses{\@golyr{#1}}} + +\def\@golyr#1{{% + \expandafter\let\expandafter\@nochtext\csname dertext@\text@name\endcsname + \def\query@label{#1}% + \loop + \expandafter\find@llabel\@nochtext\ende + \ifx\query@label\cur@label\let\@weiter n\else \let\@weiter j\fi + \if\@weiter j\repeat + \expandafter\global\expandafter\let + \csname nochtext@\text@name\endcsname\@nochtext}} + +\def\find@llabel#1\llabel#2#3\ende{% + % #1 - Text vor erstem \llabel + % #2 - naechstfolgender \llabel-Name + % #3 - Resttext + \def\cur@label{#2}% + \def\@nochtext{#3}} + + +%%%%%%%%%% +% +% Offene Silbentrennungen und -verlaengerungen am Systemende abschliessen +% +%%%%%%%%%% +\let\@orig@z@suspend\z@suspend +\def\z@suspend{% + \znotes\sysend@lyrics\empty\en + \znotes\sysend@lyrics\auxlyr\en + \@orig@z@suspend} + +\def\sysend@verse{% + % Flag auswerten: + \ifnum\csname zwr@\text@name\endcsname = 1 % Verlaengerungs-Strich anhaengig + % Platz zum rechten Systemrand, damit Strich nicht in Taktstrich ragt + \loffset{0.3}{\limit@lyrpos\get@lyrspace\print@lyr@rule}% + \else\ifnum\csname zwr@\text@name\endcsname > 1 % Bindestrich anhaengig: + \csname llay@\text@name\endcsname% Layoutkontext abrufen + \limit@lyrpos\get@lyrspace\print@hyphen + % als forgesetzten Bindestrich fortfuehren + \expandafter\gdef\csname zwr@\text@name\endcsname{3}% + \fi\fi + % Startposition fuer naechstes System zuruecksetzen: + \expandafter\xdef\csname stp@\text@name\endcsname{\lyrlinestartpos}} + +\def\sysend@lyrics#1{% + % #1: \auxlyr or \empty + #1{\let\switch@pmx@aux\empty \forall@verses\sysend@verse}% + \if@multistaff + % loop over staves of instrument + \ifnum \noport@@ < \st@ffs + \def\@next{\nextstaff\sysend@lyrics#1}% + \else % staves of instrument finished; continue with next instrument + \sysend@lyrics@instrum@loop#1% + \fi + \else % single-staff instrument + \sysend@lyrics@instrum@loop#1% + \fi + % iterate + \@next} + +\def\sysend@lyrics@instrum@loop#1{% + % prepare instruments loop + \ifnum \noinstrum@nt < \nbinstruments + \def\@next{\nextinstrument\sysend@lyrics#1}% + \else % \noinstrum@nt >= \nbinstruments + \let\@next\empty + \fi} + + +%%%%%%%%%% +% +% Zeilenspezifisches Layout festlegen +% +%%%%%%%%%% +\def\lyrlayout#1{% + \forall@verses{% + \expandafter\gdef\csname llay@\text@name\endcsname{#1}% + % Wenn gerade Text verarbeitet wird, Kontext sofort abrufen: + \iflyr@processing #1\fi}} + +% +% Kontextbehandlung fuer Textnamen: +% +% Aktion zu Kontext hinzufuegen: +\def\add@context#1{% + \toks@=\expandafter\expandafter\expandafter + {\csname cont@\text@name\endcsname #1}% + \expandafter\xdef\csname cont@\text@name\endcsname{\the\toks@}} + +% Kontext abrufen: +\def\@context{% + \expandafter\let\expandafter\der@kontext\csname cont@\text@name\endcsname + \clear@context + \der@kontext} + +% Kontext loeschen: +\def\clear@context{% + \global\expandafter\let\csname cont@\text@name\endcsname\empty} + + +%%%%%%%%%% +% +% Zusaetzliche Textzeilen oberhalb der Notenzeile (auxiliary lyrics) +% +%%%%%%%%%% +\let\enableauxlyrics\empty % just for backward compatibility + +% Befehle auf auxlyrics beziehen: +\def\auxlyr#1{{% + \def\ma@sw{lyr@a}% + \aux@activetrue + #1}} + + +%%%%%%%%%% +% +% vertical lyrics positioning +% +%%%%%%%%%% +\def\lyrraise#1{% + % #1: instrument number + \lyrraisemulti{#1}1} + +\def\lyrraisehere#1{% + % #1: position/offset + \switch@pmx@aux{% + \ifnum\st@ffs>1 % multi-staff instrument + \lyrraisemulti{\the\noinstrum@nt}{\the\noport@@}{#1}% + \else + \lyrraise{\the\noinstrum@nt}{#1}% + \fi}} + +\def\lyrraisemulti#1#2#3{% + % #1: instrument number + % #2: staff of instrument + % #3: position/offset + \toks@=\expandafter{\csname l@raise#1-#2\endcsname}% + \expandafter\ifx\the\toks@\relax + % raise parameter still unset + \expandafter\lyrraise@init\the\toks@ + \fi + % now set raise parameter + \expandafter\expandafter\expandafter + \lyr@raise@multii\the\toks@\@end{#1}{#2}{#3}% + %\lyrlog{raise #1-#2: \expandafter\empty\the\toks@}% +} + +\def\lyr@raise@multii#1@#2\@end#3#4#5{% + % #1: current main position/offset + % #2: current aux position/offset + % #3: instrument number + % #4: staff of instrument + % #5: new position/offset + \expandafter\xdef\csname l@raise#3-#4\endcsname{% + \ifaux@active #1@#5\else #5@#2\fi}} + +% be backward compatible +\let\setsongraise@orig\setsongraise +\def\setsongraise#1#2{\setsongraise@orig{#1}{#2}\lyrraise{#1}{b#2}} +\def\auxsetsongraise#1#2{\auxlyr{\lyrraise{#1}{b#2}}} + + +\def\lyrraise@init#1{% + % #1: control sequence to be set to default value + \gdef#1{b0pt@a0pt}} + + +% vertically place lyrics columns +% replaces MusiXTeX's \C@tx +\def\vplace@lyrics#1{% + % find out applicable positioning settings + \edef\placelyr@staff{\ifnum\st@ffs>1 \the\noport@@ \else 1\fi}% + \toks@=\expandafter + {\csname l@raise\the\noinstrum@nt-\placelyr@staff\endcsname}% + % eventually initialize lyrraise setting first + \expandafter\ifx\the\toks@\relax % lyrraise still unset + \expandafter\lyrraise@init\the\toks@ + \fi + \expandafter\expandafter\expandafter\vplace@lyricsii\the\toks@\@end{#1}} + +\def\vplace@lyricsii#1#2@#3#4\@end#5{% + % #1: main lyrics positioning switch (a/b) + % #2: main lyrics raise value + % #3: aux lyrics positioning switch (a/b) + % #4: aux lyrics raise value + % #5: lyrics material to be issued + % + % decice main/aux context + % + \ifaux@active \let\lyr@ab#3\toks@={#4}% + \else \let\lyr@ab#1\toks@={#2}% + \fi + % + % decide placement situation: above/below/in-mid of system or instrument + % + \if\lyr@ab a% above staff + \ifnum\placelyr@staff<\st@ffs % non-highest staff of multiple staves + \vplaceLyricsAboveMultistaff{#5}% + \else % single or highest staff of instrument + \ifnum\noinstrum@nt<\nbinstruments % lyrics go above instrument + \vplaceLyricsAboveInstrument{#5}% + \else % lyrics go into top margin + \vplaceLyricsTopMargin{#5}% + \fi + \fi + \else % below staff + \ifnum\placelyr@staff>1 % non-lowest staff of multiple staves + \vplaceLyricsBelowMultistaff{#5}% + \else % single or lowest staff of instrument + \ifnum\noinstrum@nt>1 % lyrics go below instrument + \vplaceLyricsBelowInstrument{#5}% + \else % lyrics go into bottom margin + \vplaceLyricsBottomMargin{#5}% + \fi + \fi + \fi} + +% +% user-supersedable placement calculations +% +\def\vplaceLyricsBelowMultistaff#1{% + % #1: lyrics material + % reduced \C@Tx algorithm + \y@iv=\the\toks@\relax + \C@Inter % compute \stem@skip (?) + \advance\y@iv -0.5\stem@skip + \raise\y@iv\vbox\@to\z@{\vss\offinterlineskip#1\vss}} + +\def\vplaceLyricsAboveMultistaff#1{% + % #1: lyrics material + % reduced \C@Tx algorithm + \y@iv=\the\toks@\relax + \C@Inter % compute \stem@skip (?) + \advance\y@iv -0.5\stem@skip + % add height difference to base line of upper staff + \advance\y@iv \interportee + \raise\y@iv\vbox\@to\z@{\vss\offinterlineskip#1\vss}} + +\def\vplaceLyricsBottomMargin#1{% + % #1: lyrics material + % based on \C@tx + \y@iv=\the\toks@\relax + \advance\y@iv -\staffbotmarg + \raise\y@iv\vbox\@to\z@{\vss\offinterlineskip#1\vss}} + +\def\vplaceLyricsTopMargin#1{% + % #1: lyrics material + % based on \C@tx, "mirrored" bottom margin situation + \begingroup % seems to be necessary to make \Comp@High local; + % problem occurred with helper lines for low/high notes + \y@iv=\the\toks@\relax + \advance\y@iv \stafftopmarg + \Comp@High \advance\y@iv\y@v % \y@v = total height of instrument + \advance\y@iv \altitude % for multi-staff: + \advance\y@iv-\altportee % reduce by base height of current staff + \raise\y@iv\vbox\@to\z@{\vss\offinterlineskip#1\vss}% + \endgroup} + +\def\vplaceLyricsBelowInstrument#1{% + % #1: lyrics material + % assumption: \noinstrum@nt > 1 + % based on \C@tx + \y@iv=\the\toks@\relax + \multiply\y@iv 2 % balance division by 2 below + \advance\noinstrum@nt\m@ne + \advance\y@iv -\csname interinstrument\romannumeral\noinstrum@nt\endcsname + \C@Inter % compute \stem@skip (?) + \advance\y@iv -\stem@skip + \divide\y@iv\tw@ + \advance\noinstrum@nt\@ne + \raise\y@iv\vbox\@to\z@{\vss\offinterlineskip#1\vss}} + +\def\vplaceLyricsAboveInstrument#1{% + % #1: lyrics material + % assumption: \noinstrum@nt < \nbinstruments + % analogous to \C@tx, but refers to upper instrument instead + \y@iv=\the\toks@\relax + \multiply\y@iv 2 % balance division by 2 below + \advance\y@iv -\csname interinstrument\romannumeral\noinstrum@nt\endcsname + \C@Inter % compute \stem@skip (?) + \advance\y@iv -\stem@skip + \divide\y@iv\tw@ + % add height difference to base line of upper instrument + \begingroup + \advance\y@iv-\altportee \advance\noinstrum@nt\@ne \s@l@ctinstr + \advance\y@iv \altitude + \raise\y@iv\vbox\@to\z@{\vss\offinterlineskip#1\vss}% + \endgroup} + + +%\def\C@tx{% +% \ifnum\noinstrum@nt=\@ne +% \y@iv\staffbotmarg +% \else +% \advance\noinstrum@nt\m@ne +% \y@iv\csname interinstrument\romannumeral\noinstrum@nt\endcsname +% \C@Inter % compute \stem@skip +% \advance\y@iv\stem@skip +% \divide\y@iv\tw@ +% \advance\noinstrum@nt\@ne +% \fi +% \advance\y@iv-\csname T@R\romannumeral\noinstrum@nt\endcsname +% \lower\y@iv\uplap} +%\def\uplap#1{\vbox\@to\z@{\vss#1}} + + +%%%%%%%%%% +% +% Textsatz-Automatik +% +%%%%%%%%%% +% Text automatisch unter alle "spacing"-Noten eines Systems: +\let\orig@writ@note\writ@note +\def\writ@note{% + \ifnum\n@i<\@c % Bedingung fuer's Notenschreiben in \writ@note (warum?) +% \ifx\st@m\beamst@m +% \uptext{\csname s@bl\balken@nr\endcsname}% +% \else + \decide@lyrmode + \main@aux@or@not{\forall@verses{\@context\evtl@next@lyr}}% +% \fi + \fi + \orig@writ@note} + +\def\lyrmode@no {\def\main@aux@or@not##1{}} +\def\lyrmode@main{\def\main@aux@or@not##1{##1}} +\def\lyrmode@aux {\let\main@aux@or@not\auxlyr} +\let\pmx@auxmode\lyrmode@aux + +% Feststellen, ob Haupt- oder Nebentext oder gar nichts gesetzt werden soll: +\ifx\nextvoice\undefined % ohne PMX + \def\decide@lyrmode{% + \call@lyrmode + \if@lyrmode \decide@stem@direction % Notenhals-Automatik + \else % manuell, nur "spacing"-Noten + \ifadvance \lyrmode@main + \else \lyrmode@no + \fi + \fi} + \def\decide@stem@direction{% + \ifx\st@m\upst@m \lyrmode@aux \else + \ifx\st@m\up@flag \lyrmode@aux \else + \ifx\st@m\downst@m \lyrmode@main\else + \ifx\st@m\down@flag\lyrmode@main\else + \ifx\st@m\setst@m \lyrmode@no \else % kein Hals + \ifx\st@m\resetst@m\lyrmode@no \else + \ifx\st@m\beamst@m + \expandafter\ifx\csname s@bl\balken@nr\endcsname o\lyrmode@aux + \else\lyrmode@main + \fi + \else\errmessage{invalid \string\st@m\space setting}% + \fi\fi\fi\fi\fi\fi\fi} +\else % mit PMX + \def\decide@lyrmode{% + \ifadvance % nur "spacing"-Noten + \call@lyrmode + \if@pmx@nextvoice % Oberstimme + \if@lyrmode\lyrmode@main \else\pmx@auxmode \fi + \else % Unterstimme + \if@lyrmode\pmx@auxmode \else\lyrmode@main \fi + \fi + \else + \lyrmode@no % non-spacing Note + \fi} + \let\orig@nextvoice\nextvoice % \nextvoice erweitern + \def\nextvoice{\orig@nextvoice\@pmx@nextvoicetrue} +\fi + +\def\call@lyrmode{% activate lyrmode setting of current staff/instrument + \ifnum\st@ffs>1 % multi-staff instrument + \csname zlm@\the\noinstrum@nt-\the\noport@@\endcsname + \else % single-staff instrument + \csname zlm@\the\noinstrum@nt-1\endcsname + \fi} + +\def\switch@pmx@aux#1{% + % using PMX, automatically activate auxlyr context for #1 after \nextvoice + \ifx\nextvoice\undefined % not using PMX + #1% + \else % using PMX + \call@lyrmode + \if@pmx@nextvoice % upper PMX voice + \if@lyrmode\lyrmode@main \else\pmx@auxmode \fi + \else % lower PMX voice + \if@lyrmode\pmx@auxmode \else\lyrmode@main \fi + \fi + \main@aux@or@not{#1}% + \fi} + + + +% lyrmode umschalten: +\def\switch@lyrmode#1#2#3{% + % #1: instrument number + % #2: staff-of-instrument number + % #3: lyrmode setting + \ifnum#1=0 % % alle Zeilen einbeziehen + \switch@lyrmode@all@instrum#3% + \else % nur 1 Zeile + \global\expandafter\let\csname zlm@#1-#2\endcsname=#3% + \fi} + +% loop over all possible instruments +\def\switch@lyrmode@all@instrum#1{% + \m@loop \switch@lyrmode@all@staves#1\repeat} + +% loop over 4 possible staves of instrument +\def\switch@lyrmode@all@staves#1{% + \begingroup + \count@=0 + \loop + \advance\count@ 1 + \switch@lyrmode{\the\noinstrum@nt}{\the\count@}#1% + \ifnum\count@<4 \repeat + \endgroup} +% ... nicht wahnsinnig effizient, zugegeben ... + + +\def\lyrmodenormal#1{\lyrmodenormalmulti{#1}1} +\def\lyrmodealter #1{\lyrmodealtermulti {#1}1} + +\def\lyrmodenormalmulti#1#2{\switch@lyrmode{#1}{#2}\@lyrmodefalse} +\def\lyrmodealtermulti #1#2{\switch@lyrmode{#1}{#2}\@lyrmodetrue } + +\def\lyrmodenormalhere{\lyrmode@here\@lyrmodefalse} +\def\lyrmodealterhere {\lyrmode@here\@lyrmodetrue } + +\def\lyrmode@here#1{% apply lyrmode to current instrument/staff context + % #1: lyrmode switch + \if@multistaff + \switch@lyrmode{\the\noinstrum@nt}{\the\noport@@}#1% + \else + \switch@lyrmode{\the\noinstrum@nt}1#1% + \fi} + +\lyrmodenormal0 % auf "normal" initialisieren + +% fuer Halsrichtungs-Automatik: Balkenlage in \s@bl vermerken +\def\balk@nlage#1{\global\expandafter\let + \csname s@bl\balken@nr\endcsname #1\relax} +\let\orig@i@bu\i@bu \def\i@bu{\balk@nlage o\orig@i@bu}% ben +\let\orig@i@bl\i@bl \def\i@bl{\balk@nlage u\orig@i@bl}% nten + +\let\orig@s@l@ctbeam\s@l@ctbeam +\def\s@l@ctbeam#1\relax{\orig@s@l@ctbeam#1\relax \xdef\balken@nr{\number\n@i}} + + +% Auto-Text ein- und ausschalten (innerhalb \notes...\enotes): +\def\lyricson{\forall@verses{\add@context\verse@on@context}} +\def\verse@on@context{% + \let\evtl@next@lyr\next@lyr + \add@context\verse@on@context} + +\def\lyricsoff{\forall@verses\clear@context} + +\def\lyric {\let\evtl@hyph\@hyphenfalse\futurelet\ast@risk\lyric@i} +\def\lyrich{\let\evtl@hyph\@hyphentrue \futurelet\ast@risk\lyric@i} + +\def\lyric@i{% + \ifx\ast@risk*% + \let\evtl@nolyr\relax \let\@next\lyric@ii + \else + \let\evtl@nolyr\nolyr \def\@next{\nolyr\lyric@ii*}% + \fi + \@next} + +% Silben abseits vom Haupttext ausgeben: +\def\lyric@ii*#1{\forall@verses{\@context\evtl@hyph\@lyric{#1}}\evtl@nolyr} + +% Manipulationen einzelner Haupttext-Silben: +\def\forall@context#1{\forall@verses{\add@context{#1}}} + +% 1 Silbe ausgeben: +\def\lyr{\forall@verses{\@context\next@lyr}} + +% Linksbuendig: +\def\llyr{\forall@context{\leftlyrtrue}} + +% Verlaengerungs-Strich: +\def\lyrrule{\forall@context{\@strichtrue}} + +% Horizontale Verschiebung (analog \roffset): +\def\lyroffset#1{\forall@context{\def\evtl@offset{\roffset{#1}}}} + +% Kein automatischer Text: +\def\nolyr{\forall@context{\let\evtl@next@lyr\empty}} + +% Kleinbuchstaben: +\def\lclyr{\forall@context{\let\evtl@klein\@klein}} +\def\@klein#1{\lowercase\expandafter{#1}} + +% Satzzeichen anhaengen: +\def\lyrpt#1{\forall@context{\def\evtl@komma{#1}}} + +% Punkt vom Ende abschneiden: +\def\lyrnop{\forall@context{\let\evtl@punktweg\@punktweg}} +\def\@punktweg#1{{\punktweg@rek#1\ende}} +\def\punktweg@rek#1#2\ende{% + \def\par@ii{#2}% + \ifx\par@ii\empty\else + \aftergroup#1% + \expandafter\punktweg@rek\par@ii\ende + \fi} + +% Melisma beginnen und abschliessen: +\def\beginmel{\forall@verses{\llyr\lyrrule\add@context\lyricsoff}} +\def\endmel{\forall@verses{\lyrruleend\add@context\lyricson}} + +% +% Bindebogen unter zwei Silben derselben Note: +% +\def\lyrlink {\lyr@link0} +\def\lowlyrlink{\lyr@link1} + +\def\lyr@link#1{% + % Bogen erstellen: + \setbox\lyr@linkbox=\hbox{$\smile$}% + % In Box der Breite eines Wortzwischenraums einsetzen: + \setbox\lyr@linkbox=\hbox to\the\fontdimen2\the\font{% + \hss + % Unter die Grundlinie druecken: + \lower\ht\lyr@linkbox\hbox{% + % Zusaetzlicher vertikaler Abstand zur Wortunterseite: + \lower1pt\hbox{% + \if#10\relax + \hbox{$\smile$}% + \else + % Buchstabe mit Unterlaenge -> auch darunter druecken: + \setbox\lyr@linkdepthbox=\hbox{y}% + \lower\dp\lyr@linkdepthbox\hbox{$\smile$}% + \fi}}% + \hss}% + % Keine zusaetzliche Tiefe fuer Bogen anrechnen: + \dp\lyr@linkbox=0pt + % Bogen setzen: + \box\lyr@linkbox} + +\makeatother diff --git a/Master/texmf-dist/tex/generic/musixtex/musixmad.tex b/Master/texmf-dist/tex/generic/musixtex/musixmad.tex index 850597a269d..18b705c2e96 100644 --- a/Master/texmf-dist/tex/generic/musixtex/musixmad.tex +++ b/Master/texmf-dist/tex/generic/musixtex/musixmad.tex @@ -19,11 +19,12 @@ \ifx\staffspacingxii\undefined\else\endinput\fi -\edef\catcodeat{\the\catcode`\@}\catcode`\@=11 +% input musixadd before changing \catcode`\@ to avoid macro collision +\ifnum\maxinstruments<9 \input musixadd \fi -\ifnum\maxinstruments<\nin@ \input musixadd \fi +\immediate\write16{MusiXMore ADditional instruments T.113\space<28 June 2005>}% -\immediate\write10{MusiXMore ADditional instruments T.99\space<24 March 2000>}% +\edef\catcodeat{\the\catcode`\@}\catcode`\@=11 %\ifx\undefined\documentstyle \else % \errmessage{MusiXMAD+LaTeX will need too many dimension registers, it's diff --git a/Master/texmf-dist/tex/generic/musixtex/musixper.tex b/Master/texmf-dist/tex/generic/musixtex/musixper.tex index 22a365726d9..39dd908fca7 100644 --- a/Master/texmf-dist/tex/generic/musixtex/musixper.tex +++ b/Master/texmf-dist/tex/generic/musixtex/musixper.tex @@ -16,7 +16,7 @@ % the Free Software Foundation, Inc., 59 Temple Place - Suite 330, % Boston, MA 02111-1307, USA. % -\immediate\write10{MusiXPERcussion T.60\space<23 September 1996>}% +\immediate\write16{MusiXPERcussion T.60\space<23 September 1996>}% \ifx\undefined\drumclef \else \endinput \fi diff --git a/Master/texmf-dist/tex/generic/musixtex/musixpoi.tex b/Master/texmf-dist/tex/generic/musixtex/musixpoi.tex index c48cd536ebc..dcf33f4f956 100644 --- a/Master/texmf-dist/tex/generic/musixtex/musixpoi.tex +++ b/Master/texmf-dist/tex/generic/musixtex/musixpoi.tex @@ -17,16 +17,18 @@ % Boston, MA 02111-1307, USA. % -\immediate\write10{MusiXPOInted shorties 0.36\space<1 March 1995>} +%\immediate\write16{MusiXPOInted shorties 0.36\space<1 March 1995>} +\immediate\write16{MusiXPOInted shorties T.114\space<16 June 2008>} -\ifx\undefined\ccup \else \endinput \fi +%\ifx\undefined\ccup \else \endinput \fi % conflicts since musixtex.tex T.111 defines \ccup +\ifx\undefined\zcccclpp \else \endinput \fi \edef\catcodeat{\the\catcode`\@}\catcode`\@=11 -\def\@ccup{\n@vii\@xli \let\st@m\up@flag \g@qp} +%\def\@ccup{\n@vii\@xli \let\st@m\up@flag \g@qp}% moved into musixtex.tex since T.111 \def\@cccup{\n@vii42\let\st@m\up@flag \g@qp} \def\@ccccup{\n@vii43\let\st@m\up@flag \g@qp} -\def\@cclp{\n@vii46\let\st@m\down@flag \g@qp} +%\def\@cclp{\n@vii46\let\st@m\down@flag \g@qp}% moved into musixtex.tex at T.114 \def\@ccclp{\n@vii47\let\st@m\down@flag \g@qp} \def\@cccclp{\n@vii48\let\st@m\down@flag \g@qp} \def\@ccupp{\n@vii\@xli \let\st@m\up@flag \g@qpp} @@ -35,10 +37,10 @@ \def\@cclpp{\n@vii46\let\st@m\down@flag \g@qpp} \def\@ccclpp{\n@vii47\let\st@m\down@flag \g@qpp} \def\@cccclpp{\n@vii48\let\st@m\down@flag \g@qpp} -\def\ccup{\q@symbol\@ccup} -\def\zccup{\advancefalse\ccup} -\def\cclp{\q@symbol\@cclp} -\def\zcclp{\advancefalse\cclp} +%\def\ccup{\q@symbol\@ccup}% moved into musixtex.tex since T.111 +%\def\zccup{\advancefalse\ccup}% moved into musixtex.tex at T.114 +%\def\cclp{\q@symbol\@cclp}% moved into musixtex.tex since T.111 +%\def\zcclp{\advancefalse\cclp}% moved into musixtex.tex at T.114 \def\ccupp{\q@symbol\@ccupp} \def\zccupp{\advancefalse\ccupp} \def\cclpp{\q@symbol\@cclpp} @@ -62,3 +64,4 @@ \catcode`\@=\catcodeat \endinput + diff --git a/Master/texmf-dist/tex/generic/musixtex/musixps.tex b/Master/texmf-dist/tex/generic/musixtex/musixps.tex new file mode 100644 index 00000000000..c2a392c80be --- /dev/null +++ b/Master/texmf-dist/tex/generic/musixtex/musixps.tex @@ -0,0 +1,961 @@ +%% PostScript slurs, ties and crescendos +% Coded by Stanislav Kneifl + +\ifx\undefined\liftcresc\else\endinput\fi + +\immediate\write16{MusiXPS PostScript slurs, ties and crescendos 0.92 (12.5.2002)}% + +\catcode`\@=11 + + +%%%% remove the next line if you include this file into a format (see endnotes!). + +\special{header=psslurs.pro}% + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + +\font\mxsk=mxsk + +% you can change these values if you want... +% Offsets are in \internotes measured vertically from the center and +% horizontally from the left edge of the notehead. +% see the doc at the end for (short) explanation + +\def\psslurraise{1.6} % vertical offset of the slur beginnings/endings +\def\psbslurraise{2} % vert. offset for slurs on beams + +\def\psLslurskip{-0.2} % horiz. offset of slurs shifted more to the left +\def\pslslurskip{0.4} % horiz. offset of slurs shifted to the left +\def\psislurskip{1.4} % horiz. offset of the slur beginnings +\def\pstslurskip{1.2} % horiz. offset of the slur endings +\def\psrslurskip{2.8} % horiz. offset of slurs shifted to the right + +\def\psfslurhgt{0.7} % height coeficient of the 'f'lat slurs +\def\psslurhgt{1} % height coeficient of normal slurs +\def\pshslurhgt{1.6} % height coeficient of 'h'igh slurs +\def\psHslurhgt{2.2} % height coeficient of 'H'igh slurs +\def\psHHslurhgt{2.8} % height coeficient of 'HH'igh slurs +\def\psslurmaxhgt{40} % maximal height of the slur + % (before multiplication by \...slurhgt !!) + +\def\psslurangul{0.17} % angularity of normal, flat and high slurs +\def\psHslurangul{0.15} % angularity of High slurs +\def\psHHslurangul{0.13} % angularity of HHigh slurs + +\def\pstieraise{1.3} % vertical offset of the ties +\def\psitieskip{2.6} % horiz. offset of the tie beginnings +\def\psttieskip{0.3} % horiz. offset of the tie endings +\def\psltieskip{-0.2} % horiz. offset of ties shifted to the left +\def\psrtieskip{3} % horiz. offset of ties shifted to the right + +\def\pstiehgt{0.7} % height coeficient of the ties +\def\pstiemaxhgt{30} % maximal height if the ties +\def\pstieflathgt{20} % maximal height if the ties between staff lines +\def\pstieangul{0.14} % angularity of the ties + +%%%% + +\def\d@nh{-5} % default altitude of the crescendos in \internote +\def\setcrescheight{\def@it\d@nh} + +\def\sl@space{-3pt} % neg. space before continued slurs, ties and crescs. +\def\h@tielim{15pt} % limit for drawing half continued ties + +\def\nohalfties{\def\h@tielim{\z@}} +\def\halfties{\def\h@tielim{15pt}} +\newif\ifslopebrkslurs +\slopebrkslursfalse + +\def\dotted{\def\d@sh{1}} % the '1' is important! +\def\solid{\def\d@sh{0}} +\def\Dotted{\def\D@sh{1}} +\def\Solid{\def\D@sh{0}} +\Solid\solid + +\def\nosluradjust{\gdef\s@adj{0}} +\def\sluradjust{\gdef\s@adj{1}} +\def\Nosluradjust{\gdef\S@adj{0}\gdef\s@adj{0}} +\def\Sluradjust{\gdef\S@adj{1}\gdef\s@adj{1}} +\Sluradjust + +\def\notieadjust{\gdef\t@adj{0}} +\def\tieadjust{\gdef\t@adj{1}} +\def\Notieadjust{\gdef\T@adj{0}\gdef\t@adj{0}} +\def\Tieadjust{\gdef\T@adj{1}\gdef\t@adj{1}} +\Notieadjust + +\newif\ifdangermessages\dangermessagestrue + +\def\@clr#1{\let#1\empty} +\def\def@it#1#2{\def#1{#2}} +\def\slurtext{\def@it\s@tx} +\let\s@tx\empty +\def\lr@lap#1{\rlap{\hss#1}} + +% how many slurs will be stored into the TeX's registers? +% => how many slurs can go across the page break? +% determines also the needed amount of the following registers. +\let\max@slurs\t@n + +\let\slur@alt=\s@xi \let\slur@hgt=\s@Yv \let\slur@lift=\s@yi +\let\slur@alti=\s@xii \let\slur@hgti=\s@Yvi \let\slur@lifti=\s@yii +\let\slur@altii=\s@xiii \newdimen\slur@hgtii \let\slur@liftii=\s@yiii +\let\slur@altiii=\s@xiv \newdimen\slur@hgtiii \let\slur@liftiii=\s@yiv +\let\slur@altiv=\s@xv \newdimen\slur@hgtiv \let\slur@liftiv=\s@yv +\let\slur@altv=\s@Y \newdimen\slur@hgtv \let\slur@liftv=\s@yvi +\let\slur@altvi=\s@Yi \newdimen\slur@hgtvi \let\slur@liftvi=\s@Ni +\let\slur@altvii=\s@Yii \newdimen\slur@hgtvii \let\slur@liftvii=\s@Nii +\let\slur@altviii=\s@Yiii \newdimen\slur@hgtviii \let\slur@liftviii=\s@Niii +\let\slur@altix=\s@Yiv \newdimen\slur@hgtix \let\slur@liftix=\s@Niv + +% in the 'lift' register is coded the altitude of the ending point of the slur +% at the end of a line (y1) and the relative alt. of the starting point at the +% beginning of a line (y2): y1=(reg div 65536)-16384, y2=(reg mod 65536)-16384 + +\newdimen\tie@alt \newdimen\tie@hgt +\newdimen\tie@alti \newdimen\tie@hgti +\newdimen\tie@altii \newdimen\tie@hgtii +\newdimen\tie@altiii \newdimen\tie@hgtiii +\newdimen\tie@altiv \newdimen\tie@hgtiv +\newdimen\tie@altv \newdimen\tie@hgtv +\newdimen\tie@altvi \newdimen\tie@hgtvi +\newdimen\tie@altvii \newdimen\tie@hgtvii +\newdimen\tie@altviii \newdimen\tie@hgtviii +\newdimen\tie@altix \newdimen\tie@hgtix + +\newdimen\cresc@alt +\newdimen\cresc@alti +\newdimen\cresc@altii +\newdimen\cresc@altiii +\newdimen\cresc@altiv +\newdimen\cresc@altv +\newdimen\cresc@altvi +\newdimen\cresc@altvii +\newdimen\cresc@altviii +\newdimen\cresc@altix + +\newcount\pss@rega \pss@rega=\z@ % PS slurs +\newcount\pss@regb \pss@regb=\z@ +\newcount\pst@rega \pss@rega=\z@ % PS ties +\newcount\pst@regb \pss@regb=\z@ +\newcount\psc@rega \pss@rega=\z@ % PS [de]crescendos +\newcount\psc@regb \pss@regb=\z@ + +\newif\if@up +\newif\if@dash + +% information in these registers is binary coded: +% a: lower bit is set ( 2^2i ): there is a pending slur number i +% upper bit is set ( 2^(2i+1) ): slur number i already went across line break +% b: lower bit is set: slur/tie is dotted +% upper bit is set: slur/tie is lower / decrescendo + +% everything else is stored in PostScript variables. If you run out +% of the PostScript dictionary used for slurs, you can increase its size +% by changing the number 200 in the first line of psslurs.pro to anything +% reasonable. (The number says how many tokens can be defined.) + +%%%%%%% + +% input is i for 2^i and register to extract the bits from +% in reg. n@i will be only the bits 2^2i and 2^(2i+1) +% in n@vi will be these bits shifted to 2^0 and 2^1, +% n@ii will be set to 2^2i +\def\get@bits#1#2{\n@i=#1\relax\n@ii\@ne + \loop\ifnum\n@i>\z@\multiply\n@ii\f@ur\advance\n@i\m@ne\repeat + \n@i=\n@ii\multiply\n@i\f@ur\n@iii #2\relax + \divide\n@iii\n@i\multiply\n@iii\n@i\n@i=#2\relax + \advance\n@i-\n@iii\divide\n@i\n@ii\n@vi\n@i\multiply\n@i\n@ii\relax} + +\def\s@l@slur#1{\xdef\th@salt{\csname slur@alt\romannumeral#1\endcsname}% + \xdef\th@shgt{\csname slur@hgt\romannumeral#1\endcsname}% + \xdef\th@slift{\csname slur@lift\romannumeral#1\endcsname}} + +\def\s@l@tie#1{\xdef\th@salt{\csname tie@alt\romannumeral#1\endcsname}% + \xdef\th@shgt{\csname tie@hgt\romannumeral#1\endcsname}} + +\def\s@l@cresc#1{\xdef\th@salt{\csname cresc@alt\romannumeral#1\endcsname}} + +\def\gt@pssb#1#2{\s@l@ctbeam#1\relax\getcurpos\advance\y@v#2\relax % \y@v = hpos + \advance\y@v-\b@x + \y@ii\b@p\y@v \divide\y@ii\tw@nty \advance\y@ii\b@z + \advance\y@ii-\altportee\n@ii=\internote \divide\n@ii6553 + \n@i=\y@ii\divide\n@i\n@ii\divide\n@i6554\relax} + +\def\t@bslur#1#2#3#4{\n@vii\n@i\ifnum#3<\fiv@t@@n\get@bits{#3}\pss@regb\n@i\n@vii + \ifnum\n@vi>\@ne\gt@pssb{#4}\z@\T@slur{#3}{\psbslurraise}{0}{#1}{#2}% + \else\gt@pssb{#4}{\tw@\qn@width}\T@slur{#3}{\psbslurraise}{2.4}{#1}{#2}\fi + \else\gt@pssb{#4}\z@\T@slur{#3}{1.7}{0}{#1}{#2}\fi} + + +%%%%%% slurs %%%%%%%%%%%%%%%%%%% + +% ID, pitch, voffset, hoffset +% all offsets are in \internote, the slur direction is determined +% by the sign of the vertical offset. + +\def\iSlur#1#2{\inhgetn@i#2\relax\I@slur{#1}} + +% ID, voffset, hoffset; \n@i = pitch +\def\I@slur#1#2#3{\y@i=\n@i\internote + \ifdim#2\internote<\z@\@upfalse\else\@uptrue\fi + \advance\y@i#2\internote\raise\y@i\rlap{\hskip #3\internote + \special{ps: slur@Dict begin CP /S#1y1 ED /S#1x1 ED + /S#1hgt (\the\y@i) GD N /S#1brk S#1hgt (\the\internote) GD + \ifslopebrkslurs 3 \else 1 \fi\if@up 1 \else -1 \fi M M A N /S#1lift 0 N + /S#1alt (\the\altportee) GDAR N /S#1dir \if@up1\else-1\fi\space N + /S#1dash \d@sh\space N /S#1adj \s@adj\space N end}}% + \ifnum#1>\fourt@@n + \ifnum#1=99\relax\else + \ifdangermessages\message{Danger! Slur with ID >14.}\fi\fi + \else\n@iv\n@i\get@bits{#1}\pss@rega + \ifcase\n@i\else\message{Slur #1 was re-opened.}% + \advance\pss@rega-\n@i\fi % clear the bits + \global\advance\pss@rega\n@ii % and set the lower bit + \get@bits{#1}\pss@regb\global\advance\pss@regb-\n@i % clear the bits + \ifnum\d@sh=1\relax\global\advance\pss@regb\n@ii\fi + \if@up\else\multiply\n@ii\tw@\global\advance\pss@regb\n@ii\fi + \ifnum#1<\max@slurs\s@l@slur{#1}% + \global\th@salt\altportee\global\th@shgt\y@i\th@slift\n@iv + \if@up\advance\th@slift\fiv@\else\advance\th@slift-\fiv@\fi + \advance\th@slift 16384\relax\multiply\th@slift65536\relax + \global\advance\th@slift16384\relax + \fi\fi\gdef\d@sh{\D@sh}\gdef\s@adj{\S@adj}} + +% ID, height, voffset, hoffset, curvature, angularity +\def\tSlur#1#2{\inhgetn@i#2\relax\T@slur{#1}} + +\def\T@slur#1#2#3#4#5{\n@vii\n@i\n@ii\@ne + \ifnum#1<\fiv@t@@n + \get@bits{#1}\pss@rega + \global\advance\pss@rega-\n@i + \ifcase\n@i\message{Not opened slur #1 was closed.}\n@ii\z@ + \else + \ifnum\n@vi>\@ne % the slur was breaked + \get@bits{#1}\pss@regb % it's not necessary to clear this register + \ifnum\n@vi>\@ne\@upfalse\else\@uptrue\fi + \ifodd\n@vi\@dashtrue\else\@dashfalse\fi + \y@ii=\lin@pos\advance\y@ii\locx@skip\advance\y@ii#3\internote + \advance\y@ii\sl@space + \y@i=\n@vii\internote\advance\y@i\if@up\else-\fi#2\internote + \ifnum#1<\max@slurs + \s@l@slur{#1}\n@ii\th@slift\divide\n@ii65536\relax + \multiply\n@ii65536\relax\n@iii\th@slift\advance\n@iii-\n@ii + \advance\n@iii-16384\y@iii=\n@iii\internote\advance\y@iii\th@shgt + \raise\y@i\rlap{\hskip #3\internote\special{ps: slur@Dict begin + CP S (\the\y@ii) GDAR SB /S#1x1 ED + (\the\y@i) GD (\the\y@iii) GD SB 4 AR M A /S#1y1 ED + (\the\internote) GD (\the\th@shgt) GD (\the\y@i) GD + S#1x1 S#1y1 CP #4 \if@up\else neg \fi #5 30 + \if@dash1\else0\fi\space \s@adj\space 90 DS end}}% + \else + \raise\y@i\rlap{\hskip #3\internote\special{ps: slur@Dict begin + CP S (\the\y@ii) GDAR SB /S#1x1 ED + S#1hgt S#1lift (\the\internote) GD M A 4 AR M + (\the\y@i) GDAR SB SB /S#1y1 ED + (\the\internote) GD S#1hgt (\the\y@i) GD + S#1x1 S#1y1 CP #4 \if@up\else neg \fi #5 30 + S#1dash \s@adj\space 90 DS end}}% + \fi\n@ii\z@ + \fi + \fi + \fi + \ifcase\n@ii\else\y@ii=#2\internote\setbox\z@=\hbox{\s@tx}% + \y@i=\n@vii\internote\raise\y@i\rlap{\hskip #3\internote + \special{ps: slur@Dict begin (\the\internote) GD S#1hgt (\the\y@i) GD + #2 (\the\internote) GD M S#1dir M A + S#1x1 S#1y1 CP (\the\y@ii) GDAR S#1dir M SB + #4 S#1dir M #5 \psslurmaxhgt\space S#1dash S#1adj 90 DS + /ay1 ay1 (\the\ht\z@) GDAR -10 AR add dir mul add def}% + \lr@lap{\box\z@}\special{ps: end}}% + \fi\@clr\s@tx} + +\def\liftslur#1#2{\special{ps: slur@Dict begin /S#1lift #2 N end}% + \ifnum#1<\t@n\s@l@slur{#1}\divide\th@slift65536\relax + \multiply\th@slift65536 \advance\th@slift16384\relax + \advance\th@slift#2\relax\fi} + +\def\breakslur#1#2{\inhgetn@i#2\relax\y@i=\n@i\internote\special + {ps: slur@Dict begin /S#1brk (\the\y@i) GD N end}% + \ifnum#1<\t@n\s@l@slur{#1}\n@ii\th@slift\divide\n@ii65536\relax + \multiply\n@ii65536 \advance\th@slift-\n@ii\advance\n@i16384\relax + \multiply\n@i65536 \global\advance\th@slift\n@i\fi} + +%%%%% [de]crescendos %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + +% ID, height, hoffset + +\def\Icresc{\i@cresc0} +\def\Idecresc{\i@cresc2} + +\def\i@cresc#1#2#3#4{\y@i=#3\internote\raise\y@i\rlap + {\hskip#4\internote\advance\y@i\altportee\special{ps: slur@Dict begin + CP /C#2y1 ED /C#2x1 ED /C#2alt (\the\y@i) GD N + /C#2dir #1 N end}}% + \ifnum#2>\fourt@@n + \ifdangermessages\message{Danger! [De]crescendo with ID >14.}\fi + \else\get@bits{#2}\psc@rega + \ifcase\n@i\else\message{[De]crescendo #2 was re-opened.}% + \advance\psc@rega-\n@i\fi + \global\advance\psc@rega\n@ii + \get@bits{#2}\psc@regb\advance\psc@regb-\n@i + \multiply\n@ii#1\relax + \global\advance\psc@regb\n@ii\relax + \ifnum#2<\max@slurs\s@l@cresc{#2}% + \advance\y@i\altportee\global\th@salt\y@i\fi\fi} + +\def\Tcresc#1#2#3{\n@ii\@ne\n@i=#1\relax + \ifnum\n@i<\fiv@t@@n + \get@bits{#1}\psc@rega\global\advance\psc@rega-\n@i + \ifcase\n@i\message{Not opened crescendo #1 was closed.}\n@ii\z@ + \else + \ifnum\n@vi>\@ne % the crescendo was breaked + \get@bits{#1}\psc@regb % it's not necessary to clear this register + \y@ii=\lin@pos\advance\y@ii\locx@skip\advance\y@ii#3\internote + \advance\y@ii\sl@space + \zchar{#2}{\hskip #3\internote\special{ps: slur@Dict begin + CP S (\the\y@ii) GDAR SB S CP 4 \the\n@vi\space R + \the\n@vi\space 0 eq { DHC } { DC } ifelse end}}% + \global\n@ii\z@\fi + \fi\fi + \ifcase\n@ii\else\zchar{#2}{\hskip#3\internote\special{ps: slur@Dict begin + C#1x1 C#1y1 CP 4 C#1dir R DC end}}\fi} + +\def\liftcresc#1#2{\y@i=#2\internote\ifnum#1<\max@slurs\s@l@cresc{#1}% + \global\advance\th@salt\y@i\else\special{ps: slur@Dict begin + /C#1alt (\the\y@i) GDAR C#1alt A N end}\fi} + + +%%%% ties %%%%%%%%%%%%%%%%%%%%%% + +\def\iTieu{\i@tie{1}} +\def\iTied{\i@tie{-1}} + +% 1/-1, ID, height, hoffset +\def\i@tie#1#2#3#4{\inhgetn@i#3\relax\y@i=\pstieraise\internote + \multiply\y@i#1\relax\advance\y@i\n@i\internote\raise\y@i\rlap + {\hskip #4\internote\special{ps: slur@Dict begin + /S#1alt (\the\altportee) GDAR N + CP /T#2y1 ED /T#2x1 ED /T#2hgt (\the\y@i) GD N + /T#2dir #1 N /T#2dash \d@sh\space N + /T#2adj \t@adj\space N end}}% + \ifnum #2>\fourt@@n + \ifnum#2=99\relax\else + \ifdangermessages\message{Danger! Tie with ID >14.}\fi\fi + \else\get@bits{#2}\pst@rega + \ifcase\n@i\else\message{Tie #2 was re-opened.}% + \global\advance\pst@rega-\n@i\fi + \global\advance\pst@rega\n@ii + \get@bits{#2}\pst@regb\global\advance\pst@regb-\n@i % clear the bits + \ifnum\d@sh=1\relax\global\advance\pst@regb\n@ii\fi + \ifnum#1=1\relax\else\multiply\n@ii\tw@\global\advance\pst@regb\n@ii\fi + \ifnum#2<\max@slurs\s@l@tie{#2}% + \global\th@salt\altportee\global\th@shgt\y@i\fi + \fi\gdef\d@sh{\D@sh}\gdef\t@adj{\T@adj}} + +% ID, hoffset +\def\tTie#1#2{\n@ii\@ne + \ifnum#1<\fiv@t@@n + \get@bits{#1}\pst@rega + \global\advance\pst@rega-\n@i + \ifcase\n@i\message{Not opened tie #1 was closed.}\n@ii\z@ + \else + \ifnum\n@vi>\@ne % the tie was breaked + \get@bits{#1}\pst@regb % it's not necessary to clear this register + \ifnum\n@vi>\@ne\@upfalse\else\@uptrue\fi + \ifodd\n@vi\@dashtrue\else\@dashfalse\fi + \y@ii=\lin@pos\advance\y@ii\locx@skip\advance\y@ii#2\internote + \advance\y@ii\sl@space + \ifnum#1<\max@slurs\s@l@tie{#1}% + \ifdim\y@ii<\h@tielim + \raise\th@shgt\rlap{\hskip-0.3\internote + \ifdim\internote>.9\Internote\n@i=\z@\else + \ifdim\internote<.7\Internote \n@i=\@cxxviii + \else\n@i=64\fi\fi\if@up\else\advance\n@i\@ne\fi + \mxsk\char\n@i}% + \else + \rlap{\hskip #2\internote\special{ps: slur@Dict begin + (\the\internote) GD (\the\th@shgt) GD DP + CP S (\the\y@ii) GDAR SB S (\the\th@shgt) + GDAR SB DP CP P S \if@up \pstiehgt\space + \else -\pstiehgt\space \fi \pstieangul\space \pstiemaxhgt\space + \if@dash 1 \else 0 \fi \t@adj\space 40 DS end}}% + \fi + \else + \rlap{\hskip #2\internote\special{ps: slur@Dict begin + (\the\internote) GD T#1hgt GD DP + CP S (\the\y@ii) GDAR SB S T#1hgt GDAR SB DP CP P S + \if@up -\pstiehgt\space \else \pstiehgt\space \fi + \pstieangul\space \pstiemaxhgt\space \if@dash 1 \else 0 \fi + \t@adj\space 40 DS end}}% + \fi + \global\n@ii=\z@ + \fi + \fi + \fi + \ifcase\n@ii\else + \rlap{\hskip#2\internote + \special{ps: slur@Dict begin (\the\internote) GD T#1hgt DP + T#1x1 T#1y1 CP P T#1y1 + \pstiehgt\space T#1dir M \pstieangul\space \pstiemaxhgt\space T#1dash T#1adj 40 DS end}}% + \fi} + + +%%%%%%% simple slurs %%%%%%%%%%%%%%%%% + +% #1 start pitch #2 final pitch #3 sense(u,d) #4 length[noteskip] + +% \s@Y = vert. offset, \y@ii = horiz. offset at the end, \y@iii add to length +% \y@v = length + +\def\C@sl#1#2#3#4{\inhgetn@i#1\relax \n@ii\n@i\inhgetn@i#2\relax + \if d#3 \s@vy-\s@vy \ifx\@ne\nxt \y@ii\z@\fi \fi + \y@v#4\noteskip\advance\y@v\y@iii\advance\y@ii-\y@iii + \rlap{\hskip\y@ii\y@i=\n@ii\internote\advance\y@i\s@vy + \y@ii=\n@i\internote\advance\y@ii\s@vy\setbox\z@=\hbox{\s@tx}% + \ifx\s@tx\empty\def\tx@sp{1}\else\ifdim\y@v<\tw@nty\internote\def\tx@sp{1.5}% + \else\ifdim\y@v<\@l\internote\def\tx@sp{1.2}\else\def\tx@sp{1}\fi\fi\fi + \special{ps: slur@Dict begin (\the\internote) GD + (\the\y@i) GD (\the\y@ii) GD CP (\the\y@i) GDAR swub + CP exch (\the\y@v) GDAR add exch (\the\y@ii) GDAR sub + \if d#3 -1 \else 1 \fi \tx@sp\space mul \psslurangul\space + \psslurmaxhgt\space \d@sh\space \s@adj\space 90 DS + /ax1 ax1 (\the\y@v) GDAR add def /ay1 ay1 (\the\y@ii) GDAR sub + (\the\ht\z@) GDAR dir mul add def}\lr@lap{\unhbox\z@}\special{ps: end}}% + \@clr\s@tx\gdef\d@sh{\D@sh}\gdef\s@adj{\S@adj}} + + +%%%%%%% breaking the line %%%%%%%%%%%%%%%%% + +\def\br@slur{\divide\n@v\tw@ + \ifodd\n@v % the slur was breaked again + \y@i=\lin@pos\advance\y@i\x@skip\advance\y@i-\tw@\p@ + \advance\y@i\sl@space + \ifnum\n@iv<\max@slurs\s@l@slur\n@iv\n@i\th@slift\divide\n@i65536% + \n@ii\n@i\advance\n@ii-16384\y@iii=\n@ii\internote + \multiply\n@i65536 \n@ii\th@slift\advance\n@ii-\n@i + \advance\n@ii-16384\y@ii=\n@ii\internote\advance\y@ii\th@shgt + \ifnum\n@vi>\@ne\@upfalse\else\@uptrue\fi + \raise\th@salt\rlap{\hskip -2pt\special + {ps: slur@Dict begin /in (\the\internote) GD N + in (\the\y@ii) GD (\the\y@iii) GD CP S (\the\y@i) GD + 4 AR M SB S (\the\y@ii) GDAR SB + CP (\the\y@iii) GDAR SB \if@up1\else-1\fi\space + 0.13 30 \ifodd\n@vi 1 \else 0 \fi \s@adj\space 90 DS end}}% + \else + \rlap{\hskip -2pt\special{ps: slur@Dict begin + /in (\the\internote) GD N in S\the\n@iv hgt + S\the\n@iv lift in M A S\the\n@iv brk + CP S (\the\y@i) GDAR SB in 10 AR M A S + S\the\n@iv hgt S\the\n@iv lift in M A 4 AR M SB + S\the\n@iv alt 4 AR M SB CP S\the\n@iv brk + S\the\n@iv alt A 4 AR M SB S\the\n@iv dir + 0.13 30 S\the\n@iv dash S\the\n@iv adj 90 DS end}}% + \fi + \else % the slur was breaked the first time + \rlap{\hskip-2pt\special{ps: slur@Dict begin (\the\internote) GD + S\the\n@iv hgt S\the\n@iv brk S\the\n@iv x1 S\the\n@iv y1 CP P + S\the\n@iv y1 S\the\n@iv hgt S\the\n@iv brk SB 4 AR M A + S\the\n@iv dir 0.17 \psslurmaxhgt\space S\the\n@iv dash S\the\n@iv adj 90 DS end}}% + \get@bits\n@iv\pss@rega + \multiply\n@ii\tw@\global\advance\pss@rega\n@ii\fi} + + +\def\br@cresc{\divide\n@v\tw@ + \ifodd\n@v % the crescendo was breaked again + \y@i=\lin@pos\advance\y@i\x@skip\advance\y@i-\tw@\p@ + \advance\y@i\sl@space + \ifnum\n@iv<\max@slurs\s@l@cresc\n@iv + \rlap{\hskip-2pt\divide\n@vi\tw@\special{ps: slur@Dict begin CP S + (\the\y@i) GDAR SB S (\the\th@salt) GDAR SB DP CP P S + 4 \ifodd\n@vi 2 \else 0 \fi R DHC end}}% + \else + \rlap{\hskip-2pt\divide\n@vi\tw@\special{ps: slur@Dict begin CP S + (\the\y@i) GDAR SB (\the\internote) GD 10 AR M A S + C\the\n@iv alt GDAR SB DP CP P S + 4 C\the\n@iv dir R DHC end}}\fi + \else % the crescendo was breaked the first time + \rlap{\hskip-2pt\special{ps: slur@Dict begin + C\the\n@iv x1 C\the\n@iv y1 DP CP P S + 4 C\the\n@iv dir R C\the\n@iv dir 0 eq + { DC } { DHC } ifelse end}}% + \get@bits\n@iv\psc@rega + \multiply\n@ii\tw@\global\advance\psc@rega\n@ii\fi} + + +\def\br@tie{\divide\n@v\tw@ + \ifodd\n@v % the tie was breaked again + \y@i=\lin@pos\advance\y@i\x@skip\advance\y@i-\tw@\p@ + \advance\y@i\sl@space + \ifnum\n@iv<\max@slurs\s@l@tie\n@iv + \ifnum\n@vi>\@ne\@upfalse\else\@uptrue\fi + \y@ii\th@salt\advance\y@ii\th@shgt + \raise\y@ii\rlap{\hskip-2pt\special{ps: slur@Dict begin + (\the\internote) GD (\the\th@shgt) GD DP CP S (\the\y@i) GDAR SB S + CP \if@up \pstiehgt\space \else -\pstiehgt\space \fi \pstieangul\space + \pstiemaxhgt\space \ifodd\n@vi 1 \else 0 \fi \t@adj\space 40 DS end}}% + \else + \rlap{\hskip-2pt\special{ps: slur@Dict begin + (\the\internote) GD T\the\n@iv hgt DP CP S (\the\y@i) + GDAR SB (\the\internote) GD 10 AR M A S + T\the\n@iv alt T\the\n@iv hgt A 4 AR M SB DP + CP P S \pstiehgt\space T\the\n@iv dir M + \pstieangul\space \pstiemaxhgt\space T\the\n@iv dash T\the\n@iv adj 40 DS end}}\fi + \else % the tie was breaked the first time + \rlap{\hskip-2pt\special{ps: slur@Dict begin + (\the\internote) GD T\the\n@iv hgt DP + T\the\n@iv x1 T\the\n@iv y1 DP CP P S + \pstiehgt\space T\the\n@iv dir M \pstieangul\space \pstiemaxhgt\space + T\the\n@iv dash 40 T\the\n@iv adj DS end}}% + \get@bits\n@iv\pst@rega + \multiply\n@ii\tw@\global\advance\pst@rega\n@ii\fi} + +\let\mxps@oldsuspend=\z@suspend + +\def\z@suspend{% +% cut PostScript slurs + {\n@iv\z@\n@v\pss@rega\n@vi\pss@regb + \loop\ifnum\n@v>\z@ + \ifodd\n@v{\br@slur}\fi\divide\n@v\f@ur + \advance\n@iv\@ne\divide\n@vi\f@ur + \repeat}% +% cut PostScript [de]crescendos + {\n@iv=\z@\n@v=\psc@rega\n@vi\psc@regb + \loop\ifnum\n@v>\z@ + \ifodd\n@v{\br@cresc}\fi\divide\n@v\f@ur + \advance\n@iv\@ne\divide\n@vi\f@ur + \repeat}% +% cut PostScript ties + {\n@iv=\z@\n@v=\pst@rega\n@vi\pst@regb + \loop\ifnum\n@v>\z@ + \ifodd\n@v{\br@tie}\fi\divide\n@v\f@ur + \advance\n@iv\@ne\divide\n@vi\f@ur + \repeat}% + \special{ps: slur@Dict begin /pss@rega \the\pss@rega\space N + /psc@rega \the\psc@rega\space N /pst@rega \the\pst@rega\space N end }% +% do all other mxtex stuff + \mxps@oldsuspend} + +% checking for lost slurs + +\def\checkslurs{ + \ifcase\pss@rega\else\message{Warning! Opened slur(s) at checkpoint!}\fi + \ifcase\psc@rega\else\message{Warning! Opened crescendo(s) at checkpoint!}\fi + \ifcase\pst@rega\else\message{Warning! Opened tie(s) at checkpoint!}\fi} + + +%%%%%% common abbreviations %%%%%%%%%%%%%%%%%%%% + +\def\isluru#1#2{\iSlur{#1}{#2}{\psslurraise}{\psislurskip}} +\def\islurd#1#2{\iSlur{#1}{#2}{-\psslurraise}{\psislurskip}} +\def\irsluru#1#2{\iSlur{#1}{#2}{\psslurraise}{\psrslurskip}} +\def\irslurd#1#2{\iSlur{#1}{#2}{-\psslurraise}{\psrslurskip}} +\def\ilsluru#1#2{\iSlur{#1}{#2}{\psslurraise}{\pslslurskip}} +\def\ilslurd#1#2{\iSlur{#1}{#2}{-\psslurraise}{\pslslurskip}} +\def\iLsluru#1#2{\iSlur{#1}{#2}{\psslurraise}{\psLslurskip}} +\def\iLslurd#1#2{\iSlur{#1}{#2}{-\psslurraise}{\psLslurskip}} + +\def\tfslur#1#2{\tSlur{#1}{#2}{\psslurraise}{\pstslurskip}{\psfslurhgt}{\psslurangul}} +\def\tslur#1#2{\tSlur{#1}{#2}{\psslurraise}{\pstslurskip}{\psslurhgt}{\psslurangul}} +\def\thslur#1#2{\tSlur{#1}{#2}{\psslurraise}{\pstslurskip}{\pshslurhgt}{\psslurangul}} +\def\tHslur#1#2{\tSlur{#1}{#2}{\psslurraise}{\pstslurskip}{\psHslurhgt}{\psHslurangul}} +\def\tHHslur#1#2{\tSlur{#1}{#2}{\psslurraise}{\pstslurskip}{\psHHslurhgt}{\psHHslurangul}} + +\def\trfslur#1#2{\tSlur{#1}{#2}{\psslurraise}{\psrslurskip}{\psfslurhgt}{\psslurangul}} +\def\trslur#1#2{\tSlur{#1}{#2}{\psslurraise}{\psrslurskip}{\psslurhgt}{\psslurangul}} +\def\trhslur#1#2{\tSlur{#1}{#2}{\psslurraise}{\psrslurskip}{\pshslurhgt}{\psslurangul}} +\def\trHslur#1#2{\tSlur{#1}{#2}{\psslurraise}{\psrslurskip}{\psHslurhgt}{\psHslurangul}} +\def\trHHslur#1#2{\tSlur{#1}{#2}{\psslurraise}{\psrslurskip}{\psHHslurhgt}{\psHHslurangul}} + +\def\tlfslur#1#2{\tSlur{#1}{#2}{\psslurraise}{\pslslurskip}{\psfslurhgt}{\psslurangul}} +\def\tlslur#1#2{\tSlur{#1}{#2}{\psslurraise}{\pslslurskip}{\psslurhgt}{\psslurangul}} +\def\tlhslur#1#2{\tSlur{#1}{#2}{\psslurraise}{\pslslurskip}{\pshslurhgt}{\psslurangul}} +\def\tlHslur#1#2{\tSlur{#1}{#2}{\psslurraise}{\pslslurskip}{\psHslurhgt}{\psHslurangul}} +\def\tlHHslur#1#2{\tSlur{#1}{#2}{\psslurraise}{\pslslurskip}{\psHHslurhgt}{\psHHslurangul}} + +\def\tLfslur#1#2{\tSlur{#1}{#2}{\psslurraise}{\psLslurskip}{\psfslurhgt}{\psslurangul}} +\def\tLslur#1#2{\tSlur{#1}{#2}{\psslurraise}{\psLslurskip}{\psslurhgt}{\psslurangul}} +\def\tLhslur#1#2{\tSlur{#1}{#2}{\psslurraise}{\psLslurskip}{\pshslurhgt}{\psslurangul}} +\def\tLHslur#1#2{\tSlur{#1}{#2}{\psslurraise}{\psLslurskip}{\psHslurhgt}{\psHslurangul}} +\def\tLHHslur#1#2{\tSlur{#1}{#2}{\psslurraise}{\psLslurskip}{\psHHslurhgt}{\psHHslurangul}} + +% slur ID, beam ID +\def\iBsluru#1#2{\gt@pssb{#2}{\tw@\qn@width}\I@slur{#1}{\psbslurraise}{2.4}} +\def\iBslurd#1#2{\gt@pssb{#2}\z@\I@slur{#1}{-\psbslurraise}0} +\def\tBfslur{\t@bslur\psfslurhgt\psslurangul} +\def\tBslur{\t@bslur\psslurhgt\psslurangul} +\def\tBhslur{\t@bslur\pshslurhgt\psslurangul} +\def\tBHslur{\t@bslur\psHslurhgt\psHslurangul} +\def\tBhHslur{\t@bslur\psHHslurhgt\psHHslurangul} + + +\def\itieu#1#2{\iTieu{#1}{#2}{\psitieskip}} +\def\itied#1#2{\iTied{#1}{#2}{\psitieskip}} +\def\iltieu#1#2{\iTieu{#1}{#2}{\pslslurskip}} +\def\iltied#1#2{\iTied{#1}{#2}{\pslslurskip}} +\def\irtieu#1#2{\iTieu{#1}{#2}{\psrslurskip}} +\def\irtied#1#2{\iTied{#1}{#2}{\psrslurskip}} +\def\ttie#1{\tTie{#1}{\psttieskip}} +\def\tltie#1{\tTie{#1}{\psltieskip}} +\def\trtie#1{\tTie{#1}{\psrtieskip}} + +\def\icresc#1{\Icresc{#1}{\d@nh}{0}} +\def\idecresc#1{\Idecresc{#1}{\d@nh}{0}} +\def\tcresc#1{\Tcresc{#1}{\d@nh}{2}} +\let\tdecresc\tcresc + +\def\ilcresc#1{\Icresc{#1}{\d@nh}{-4}} +\def\ildecresc#1{\Idecresc{#1}{\d@nh}{-4}} +\def\tlcresc#1{\Tcresc{#1}{\d@nh}{-2}} +\let\tldecresc\tlcresc + +\def\ircresc#1{\Icresc{#1}{\d@nh}{4}} +\def\irdecresc#1{\Idecresc{#1}{\d@nh}{4}} +\def\trcresc#1{\Tcresc{#1}{\d@nh}{-6}} +\let\trdecresc\trcresc + +% for compatibility with old MusiXTeX slurs ... +\let\Tslur\tslur +\let\Ttie\ttie +\let\issluru\irsluru +\let\isslurd\irslurd +\let\tsslur\tLslur +\def\ibsluru#1#2{\iSlur{#1}{#2}8{\psrslurskip}} +\def\ibslurd#1#2{\iSlur{#1}{#2}{-8}{\psrslurskip}} +\def\tubslur#1#2{\tSlur{#1}{#2}8{\psrslurskip}{\psslurhgt}{\psslurangul}} +\def\tdbslur#1#2{\tSlur{#1}{#2}8{\pslslurskip}{\psslurhgt}{\psslurangul}} +\let\tbsluru=\tubslur +\let\tbslurd=\tdbslur +\let\istieu\irtieu +\let\istied\irtied +\let\itenu\irtieu +\let\itenl\irtied +\let\tstie\tltie +\let\tten\tltie +\let\Itenu\istieu +\let\Itenl\istied +\let\Liftslur\liftslur +% p1 p2 sense len +\def\slur#1#2#3#4{\csname islur#3\endcsname{99}{#1}% + \rlap{\hskip#4\noteskip\tslur{99}{#2}}} +\def\tie#1#2#3{\csname itie#2\endcsname{99}{#1}% + \rlap{\hskip#3\noteskip\ttie{99}}} + +\catcode`\@=\catcodeat + +\endinput + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + + +USAGE: +~~~~~~ +Basic usage is: + +\isluru0g - starts upper slur with ID 0 above the note 'g' +\tslur0i - terminates slur with ID 0. It will end above or below + the note 'i' with respect to the slur direction + +You can shift the starting or ending point slightly to the left +or right using \ilsluru, \ilslurd, \irsluru, \irslurd, \trslur and \tlslur. + +And finally you can make the slur a bit more flat than default +( \tfslur0f ), higher ( \thslur0f ), more higher ( \tHslur0f ) or +even more higher ( \tHHslur0f ). All combinations with shifting are +allowed (see the abbreviations above). These commands act like +\midslur for standard slurs. + +If this is not sufficient, you can use the \iSlur and \tSlur and adjust the +parameter as you want (see comments above their definitions) or even change +the default parameters. + +NOTE 1: The identification parameter should be a number greater + or equal to 0 and lower than 10. You can use even higher + numbers, but slurs, ties and crescendos with ID >10 + can not go over page break but can go across line break. + Slurs, ties and crescendos with ID >14 can't be breaked at all + (these slurs also can not be exactly positioned at a beam, so + don't use for example \tbslur{16}0; \ibslur{16}0 is safe). + If you know that a line break can not occur inside the slur + (probably inside a bar) you can happily use numbers + up to 2^31-1, which is also the maximal number of + simultaneously opened slurs :-). Such slurs will be also + a bit faster... + +NOTE 2: You can start a slur, tie and crescendo with the same ID, + the ID's are independent. This is not true for crescendos + and decrescendos. That means you can say \isluru0f\icresc0, + but not \icresc0\idecresc0, in which case you'll get a warning + message and the first crescendo will be forgotten. + +There are also macros for slurs begining or ending at a beam: + +\iBsluru{slur ID}{beam ID} +\iBslurd{slur ID}{beam ID} +\tBslur{slur ID}{beam ID} + +They are NOT THE SAME as for the original slurs, but a bit smarter... + +for example: + +\Notes\ibu0i0\iBsluru00\qb0{eh}\tbu0\qb0i\ibu0j0\qb0{jl}\tbu0% + \setslurtext{6}\tBslur00\qb0e\en + +The \slurtext works for PostScript slurs exactly the same way as +for the bitmapped ones. When you say '\slurtext3', a number '3' will +be typeset in the middle of the next closed slur. +The position of the reference point of the box with text will be +exactly in the middle horizontally and adjusted according to the +height of the box in case of upper slur. + +This works only for non-breaked slurs, if the slur is breaked, +the text disappears. + +The placing of the slur text is done with a very dirty PostScript +hack, so I am not really sure that everything you want to typeset +will be placed at the correct position (if you are interested, see +the end of psslurs.pro for details). If you find something that won't +work, let me know. + +There is also an unpleasant side-effect: when you look at the +DVI-file with some standard (non-PostScript) driver, the figure will +be placed at the end of the slur instead of the middle. From obvious +reasons this can't be fixed --- TeX can't know where the middle is, +as the slur shape is defined by a PostScript program. + + +General coding is very simple: + +\i[h.shift]slur[u|d]{slur ID}{note height} +\t[h.shift][slur height]slur{slur ID}{note height} + +\iBslur[u|d]{slur ID}{beam ID} +\tB[slur height]slur{slur ID}{beam ID} + +where h. shift can be 'l', 'r' or nothing +and slur height can be 'f', nothing, 'h', 'H' or 'HH' + +Mnemonics: \tlfslur means 'terminate left flat slur'. + + +There are also simple slurs with same invocation and parameters as the +original ones. + + +Similarly the ties: +~~~~~~~~~~~~~~~~~~~ +\itieu0e +\ttie0 + +\i[h.shift]tie[u|d]{ID}{note height} +\t[h.shift]tie{ID} + + +And crescendos: +~~~~~~~~~~~~~~~ +\icresc0 +\tcresc0 draws a crescendo at a default position (defined with + \setcrescheight) + +NOTE 1: \tcresc is the same as \tdecresc. + +NOTE 2: The coding of crescendos is incompatible with original crescendos. + The difference (as you notices) is in defining the type + (crescendo/decrescendo) at the beginning instead of the end. + This can't be fixed, because the TeX must know this at the end + of the line when the crescendo is breaked. + + +You can shift the starting and ending point horizontally with + +\ilcresc \ildecresc +\ircresc \irdecresc +\tlcresc \tldecresc +\trcresc \trdecresc + +to get some space for \mf, \ff etc. + + +Furthermore, you can say: + +\Icresc0{-6}0 +\Tcresc0{-8}2 + +and you will get crescendo with ending point lower than the begining +one. (The '0' and '2' at the end is horizontal offset in \internote +from the current point.) Due to some implemenational reasons, you must +use numbered height when specifying the altitude of the crescendos. + + + +Dotted slurs and ties +~~~~~~~~~~~~~~~~~~~~~ +The slurs and ties can be dotted, when you say \dotted anywhere before +the begining of the slur or tie. The first slur or tie following this +command will then be drawed with dotted line. + +[dangerous bend] When you say \dotted, then ALL slurs and ties + from this point will be dotted until you say +\Solid. Furthermore, inside the \dotted...\Solid you can make some slur or +tie solid saying \solid before its begining. + +NOTE: These macros are taken into account only at the begining + of the slur or tie. + + +Collisions of slurs/ties and staff lines +~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ +In PostScript it is possible to do some computations, which are very hard +to implement in TeX. One of neat features of the PS slurs and ties is +checking, if the curve passes close the staff line and if so, adjusting +the altitude of the curve to avoid collision ("black triangles" or narrow +white space). You can turn this feature on globally (\Sluradjust, +\Tieadjust) or locally (\sluradjust, \tieadjust), or disable it either +globally (\Nosluradjust, \Notieadjust) or locally (\nosluradjust, +\notieadjust). Default is \Sluradjust and \Notieadjust. "Locally" +means before the next opening command of the slur or tie. + + +Line breaking: +~~~~~~~~~~~~~~ +The slurs, ties and crescendos going across the line breaks are handled +automatically. Of course they can go over more lines than two (this is +true also for ties, though it would be somewhat strange). + +There is the classic \breakslur implemented, which sets the height of the +ending point slur at the end of a line to given number of \internotes. + +There is also a switch, \ifslopebrkslurs, indicating whether the ending point +of the first segment of the breaked slur (at the end of the line) should +be automatically raised by 3 \internote. You can turn this feature on by +the \slopebrkslurstrue and off by \slopebrkslursfalse commands, default +is false. + +You can raise or lower the starting point of the slur at the begining of +the next line with the command \liftslur with ID and the relative offset in +\internotes measured from the slur beginning height. Its usage and behavior +is the same as of the original \liftslur, only it is not necessary to code +it in \atnextstaff{}, just anywhere inside the slur. + +Similar is \liftcresc, but it works only for the middle part of crescendos +broken into three parts. The height of the last part of a broken crescendo +is defined with the height parameter of \Tcresc. + +As said before, anything with ID <10 is breaked fully automatically, but +you should be careful about the slurs, ties and crescendos with 10 <= ID < 15. +These can not go acress PAGE break, otherwise you'll get a PostScript error +like 's11hgt undefined'. Of course the LINE breaking works for them +automatically too. + +When a tie is continuead after breaking at the very beginning of a line, +only a half of the tie is drawn (the 'very beginning' means that the tie +would be less than 15pt long). To forbid this feature, say \nohalfties +(default is \halfties). A font called mxsk is necessary for \halfties. + + +Backwards compatibility +~~~~~~~~~~~~~~~~~~~~~~~ + +There are several "aliases" which allow to use the old, bitmapped slur +commands for PS slurs without any change. There are however a few differences: +- the \invertslur is not implemented yet +- the \curve and \midslur macros have no effect + + + + +Memory requrements +~~~~~~~~~~~~~~~~~~ + +I have tried to make the macros as small and fast as possible. The problem +about them is not in their size, but in their output. Each \i... and \t... +produces a \special command, which must be stored into the TeX's main memory. +Therefore, if too many slur occurs in one page, some memory troubles could +occur. In that case either use BigTeX (but I suppose you already use it) or +use the bitmapped slurs. I will try to reduce the memory requirements, but +do not expect any miracles. There is a lot of things to be passed to the +PostScript part... + + + +About the PS header: +~~~~~~~~~~~~~~~~~~~~ +The slurs need the PS header file psslurs.pro to be included into the +output PostScript file. You have to say this to dvips with command + +\special{header=psslurs.pro} + +placed anywhere inside the piece. As default, this is done when \inputting +the MusiXpss, but if you include the MusiXpss.tex into a format, the first +page of your document will be always empty. If you want the macros included +in your format file, comment the line 13 of this file and don't forget +to copy it into your source file. + +Warning to dvidvi users: If you select a set of pages from your document, +don't forget to include the page in which the \special command was used +(default is first page). Otherwise the dvips won't find this command and +won't include the header file, putting the PostScript device into a serious +problems. You can also use the "-h psslurs.pro" option to tell dvips to add +the header file manually. + + +About the slur shape: +~~~~~~~~~~~~~~~~~~~~~ +The shape is defined via trapezium: + + c + <----> b + <-----------------------------------------> + _ _ _________________________________ _ _ + | /^1 _____/ ^2 ^3 ^4\_____ 5^\ | ^ + / __/ \___ \ | + | /_/ \ \_\ | | + // this is the 'slur' \\ | a + |/ \\| | + |_________________________________________| v + 0 6 + +Points 0 and 6 are the starting and ending points. When the slope is not +zero, the trapezium is simply rotated, NOT slanted. + +'a' is computed as sqrt(b)*2, bounded with <3,\psslurmaxhgt> and multiplied +by the given height coeficient (see \tSlur and \t..slur, defaults to 1) +The units are not equal to anything common, the values were found +after a lot of testing. + +'c' is computed as angularity*b. Default angularity is 0.17, reasonable +values should lie in <0.1, 0.3>. + +Then the shape is corrected when the slur is so steep that its extreme +in horizontal direction lies inside the slur and shifted up or down +if it's top would be too close to nearest staff line (!!!!!!!!). + +The slur then consists of two bezier curves: +from 0 to 3 with control points 1 and 2 and +from 3 to 6 with control points 4 and 5. + +The shading is made according to its length and current \internote. + + + +If you are interested, see a slightly commented PS code in psslurs.pro. + +Bug reports and complainments are welcomed at: + + Stanislav Kneifl, + + standa@hiero.cz + + + +HISTORY +~~~~~~~ + +0.92 (12.5.2002) + added: \nosluradjust, \sluradjust, \notieadjust, \tieadjust + added: \slopebrkslurtrue, \slopebrkslurfalse + fixed: shaded slurs now do not break up to separate curves + at high resolutions + +0.91 (10.1.2002) + First public release, adopted from OpusTeX version. diff --git a/Master/texmf-dist/tex/generic/musixtex/musixstr.tex b/Master/texmf-dist/tex/generic/musixtex/musixstr.tex index cde052ad37f..7fc44796ac6 100644 --- a/Master/texmf-dist/tex/generic/musixtex/musixstr.tex +++ b/Master/texmf-dist/tex/generic/musixtex/musixstr.tex @@ -16,7 +16,7 @@ % the Free Software Foundation, Inc., 59 Temple Place - Suite 330, % Boston, MA 02111-1307, USA. % -\immediate\write10{MUsiXSTRingaccents T.57\space<6 September 1996>}% +\immediate\write16{MUsiXSTRingaccents T.57\space<6 September 1996>}% \ifx\undefined\sevenrm \iflongDCfontnames diff --git a/Master/texmf-dist/tex/generic/musixtex/musixsty.tex b/Master/texmf-dist/tex/generic/musixtex/musixsty.tex index ebe52ae3126..9078883af25 100644 --- a/Master/texmf-dist/tex/generic/musixtex/musixsty.tex +++ b/Master/texmf-dist/tex/generic/musixtex/musixsty.tex @@ -18,7 +18,7 @@ % \ifx\undefined\Tenpoint \else \endinput\fi -\immediate\write10{MusiXtextSTYle T.94\space<11 May 1999>}% +\immediate\write16{MusiXtextSTYle T.94\space<11 May 1999>}% \edef\catcodeat{\the\catcode`\@}\catcode`\@=11 \edef\catcode@gt{\the\catcode`\>}\catcode`\>=12 diff --git a/Master/texmf-dist/tex/generic/musixtex/musixtex.ins b/Master/texmf-dist/tex/generic/musixtex/musixtex.ins deleted file mode 100644 index 6e0d4a70a24..00000000000 --- a/Master/texmf-dist/tex/generic/musixtex/musixtex.ins +++ /dev/null @@ -1,7 +0,0 @@ -\input musixtex -\input musixcpt -\input musixsty -\tracingstats=2\relax -\dump - - diff --git a/Master/texmf-dist/tex/generic/musixtex/musixtex.tex b/Master/texmf-dist/tex/generic/musixtex/musixtex.tex index fc6c4fa3253..618711cfa53 100644 --- a/Master/texmf-dist/tex/generic/musixtex/musixtex.tex +++ b/Master/texmf-dist/tex/generic/musixtex/musixtex.tex @@ -16,6 +16,19 @@ % the Free Software Foundation, Inc., 59 Temple Place - Suite 330, % Boston, MA 02111-1307, USA. % +% New in this version +% macros: \lwp \lwpp \rwp \rwpp \lhp \rhp \lhpp \rhpp +% +% Correction of signature spacing at change of the music size (l.1428-35)rev2 +% +% Correction of a bug in the definition of choir bracket (l.1690-1700) +% +% Correction of a bug in the macro \rul@sep (l. 2259)(l.2273) +% +% \cclp, \zccup, \zcclp from musixpoi.tex (l.3254)rev3 typo correction +% +% Correction of a historical bug of stem length (l.4460) +% \ifx\undefined\startpiece \else \endinput \fi \edef\catcodeat{\the\catcode`\@}\catcode`\@=11 @@ -23,8 +36,8 @@ \ifx\makeatother\undefined\def\makeatother{\catcode`\@=12\relax}\fi \def\mufl@x{0.83}% -\def\mxversion{T.103} -\def\mxdate{8 July 2001} +\def\mxversion{T.114} +\def\mxdate{1 Feb 2009} % T.114-rev.4 \immediate\write16{MusiXTeX(c) \mxversion\space<\mxdate>}% \everyjob{\immediate\write16{MusiXTeX(c) \mxversion\space<\mxdate>}}% @@ -188,6 +201,8 @@ \newdimen\i@nv \newdimen\i@nvi +\def\i@n{\z@} % safety in case of.... + % positions x et z de debut des poutres \newdimen\b@xi \newdimen\b@zi @@ -197,19 +212,19 @@ \newdimen\b@xv \newdimen\b@zv \newdimen\b@xvi \newdimen\b@zvi -\newdimen\c@xi \newdimen\c@zi -\newdimen\c@xii \newdimen\c@zii -\newdimen\c@xiii\newdimen\c@ziii -\newdimen\c@xiv \newdimen\c@ziv -\newdimen\c@xv \newdimen\c@zv -\newdimen\c@xvi \newdimen\c@zvi +\newdimen\c@xi \newskip\c@zi +\newdimen\c@xii \newskip\c@zii +\newdimen\c@xiii\newskip\c@ziii +\newdimen\c@xiv \newskip\c@ziv +\newdimen\c@xv \newskip\c@zv +\newdimen\c@xvi \newskip\c@zvi -\newdimen\d@xi \newdimen\d@zi -\newdimen\d@xii \newdimen\d@zii -\newdimen\d@xiii\newdimen\d@ziii -\newdimen\d@xiv \newdimen\d@ziv -\newdimen\d@xv \newdimen\d@zv -\newdimen\d@xvi \newdimen\d@zvi +\newdimen\d@xi \newskip\d@zi +\newdimen\d@xii \newskip\d@zii +\newdimen\d@xiii\newskip\d@ziii +\newdimen\d@xiv \newskip\d@ziv +\newdimen\d@xv \newskip\d@zv +\newdimen\d@xvi \newskip\d@zvi \newdimen\e@xi \newskip\e@zi \newdimen\e@xii \newskip\e@zii @@ -218,6 +233,13 @@ \newdimen\e@xv \newskip\e@zv \newdimen\e@xvi \newskip\e@zvi +\newdimen\f@xi \newskip\f@zi +\newdimen\f@xii \newskip\f@zii +\newdimen\f@xiii\newskip\f@ziii +\newdimen\f@xiv \newskip\f@ziv +\newdimen\f@xv \newskip\f@zv +\newdimen\f@xvi \newskip\f@zvi + % pentes des poutres ( entier de -9 a +9 ) % multiplicite des poutres ( de -5 a +5 . 0= inactive ) @@ -301,11 +323,14 @@ % Find current font prefix (cm, dc, ec) %% \def\@onetoks#1#2+{#1} +\def\@secondtoks#1#2#3+{#2} \def\@twotoks#1#2#3+{#1#2} \def\@svntoks#1#2#3#4#5#6#7#8+{#7} \rm \edef\fontid{\expandafter\@twotoks\fontname\the\font+} +\edef\DynFontId{\fontid} \edef\fontfid{\expandafter\@onetoks\fontname\the\font+} +\edef\fontsid{\expandafter\@secondtoks\fontname\the\font+} % % Find out whether \rm font name of the form dcr1000 , i.e. with a digit at % 7th position @@ -329,6 +354,13 @@ \longECfontnamestrue \longDCfontnamesfalse \fi + \if\fontfid r + \if\fontsid x + \longECfontnamestrue + \longDCfontnamesfalse + \def\DynFontId{cm} + \fi + \fi \fi %% @@ -418,53 +450,78 @@ %% % Large fonts for titles: boldface only. %% - +\ifx\bigfont\undefined \iflongDCfontnames \font\bigfont=\fontid bx1440 % 14pt, formerly \moyen. -\font\Bigfont=\fontid bx1728 % 17pt, formerly \gros. -\font\BIgfont=\fontid bx2074 % 20pt, formerly \gros. -\font\BIGfont=\fontid bx2488 % 25pt, formerly \enorme. \else\iflongECfontnames \font\bigfont=\fontid bx1440 % 14pt, formerly \moyen. -\font\Bigfont=\fontid bx1728 % 17pt, formerly \gros. -\font\BIgfont=\fontid bx2074 % 20pt, formerly \gros. -\font\BIGfont=\fontid bx2488 % 25pt, formerly \enorme. \else \font\bigfont=\fontid bx12 scaled \magstep1 % 14pt, formerly \moyen. +\fi +\fi +\fi + +\ifx\Bigfont\undefined +\iflongDCfontnames +\font\Bigfont=\fontid bx1728 % 17pt, formerly \gros. +\else\iflongECfontnames +\font\Bigfont=\fontid bx1728 % 17pt, formerly \gros. +\else \font\Bigfont=\fontid bx12 scaled \magstep2 % 17pt, formerly \gros. +\fi +\fi +\fi + +\ifx\BIgfont\undefined +\iflongDCfontnames +\font\BIgfont=\fontid bx2074 % 20pt, formerly \gros. +\else\iflongECfontnames +\font\BIgfont=\fontid bx2074 % 20pt, formerly \gros. +\else \font\BIgfont=\fontid bx12 scaled \magstep3 % 20pt. +\fi +\fi +\fi + +\ifx\BIGfont\undefined +\iflongDCfontnames +\font\BIGfont=\fontid bx2488 % 25pt, formerly \enorme. +\else\iflongECfontnames +\font\BIGfont=\fontid bx2488 % 25pt, formerly \enorme. +\else \font\BIGfont=\fontid bx12 scaled \magstep4 % 25pt, formerly \emorme. \fi \fi +\fi %% % Bold italic fonts for dynamic markings. %% \iflongDCfontnames -\font\ppffsixteen=\fontid bi1000 -\font\ppfftwenty=\fontid bi1200 -\font\ppfftwentyfour=\fontid bi1440 -\font\ppfftwentynine=\fontid bi1728 -\font\smallppff=\fontid bi1000 -\font\normppff=\fontid bi1200 -\font\medppff=\fontid bi1440 +\font\ppffsixteen=\DynFontId bi1000 +\font\ppfftwenty=\DynFontId bi1200 +\font\ppfftwentyfour=\DynFontId bi1440 +\font\ppfftwentynine=\DynFontId bi1728 +\font\smallppff=\DynFontId bi1000 +\font\normppff=\DynFontId bi1200 +\font\medppff=\DynFontId bi1440 \else\iflongECfontnames -\font\ppffsixteen=\fontid bi1000 -\font\ppfftwenty=\fontid bi1200 -\font\ppfftwentyfour=\fontid bi1440 -\font\ppfftwentynine=\fontid bi1728 -\font\smallppff=\fontid bi1000 -\font\normppff=\fontid bi1200 -\font\medppff=\fontid bi1440 +\font\ppffsixteen=\DynFontId bi1000 +\font\ppfftwenty=\DynFontId bi1200 +\font\ppfftwentyfour=\DynFontId bi1440 +\font\ppfftwentynine=\DynFontId bi1728 +\font\smallppff=\DynFontId bi1000 +\font\normppff=\DynFontId bi1200 +\font\medppff=\DynFontId bi1440 \else -\font\ppffsixteen=\fontid bxti10 -\font\ppfftwenty=\fontid bxti10 scaled \magstep1 -\font\ppfftwentyfour=\fontid bxti10 scaled \magstep2 -\font\ppfftwentynine=\fontid bxti10 scaled \magstep3 -\font\smallppff=\fontid bxti10 -\font\normppff=\fontid bxti10 scaled \magstep1 -\font\medppff=\fontid bxti10 scaled \magstep2 +\font\ppffsixteen=\DynFontId bxti10 +\font\ppfftwenty=\DynFontId bxti10 scaled \magstep1 +\font\ppfftwentyfour=\DynFontId bxti10 scaled \magstep2 +\font\ppfftwentynine=\DynFontId bxti10 scaled \magstep3 +\font\smallppff=\DynFontId bxti10 +\font\normppff=\DynFontId bxti10 scaled \magstep1 +\font\medppff=\DynFontId bxti10 scaled \magstep2 \fi \fi @@ -736,7 +793,7 @@ % #1 start pitch #2 end pitch #3 length #4 right hoffset \newcount \meet@minus@n@iv -\def\writ@slur#1#2#3#4{% modified: sld... into slurd... 12.04.95 ick +\def\writ@slur#1#2#3#4{\check@staff % modified: sld... into slurd... 12.04.95 ick \let\slz\slurz% inserted \let\slzd\slurzd% inserted for dotted slurs +ickd \ifx\s@N\undefined \relax % \let\internote\Internote @@ -807,9 +864,9 @@ \def\@slope{z}\n@i\z@ \else \ifnum\n@ii<\n@i % Slope is negative - \C@csl\n@i\n@ii\def\@slope{d}% + \C@csl\n@i\n@ii\def\@slope{d}% % compute @meet height for slurs \else % Slope is positive - \C@csl\n@ii\n@i\def\@slope{u}\n@i\n@ii + \C@csl\n@ii\n@i\def\@slope{u}\n@i\n@ii % compute @meet height for slurs \fi \fi %% @@ -839,11 +896,13 @@ % setup meet height of slur % \ifx\empty\@meet +% \immediate\write16{\noexpand\@meet was empty.}% \else \n@iii\n@iv \advance\n@iii\@meet \fi \edef\@meet{\the\n@iii}% +% \immediate\write16{\noexpand\@meet = \@meet.}% % % allow a little bit overlap (2*2pt) for nicer outlook (as longer as nicer) % clip to extremities @@ -1008,7 +1067,8 @@ \llap{\raise\y@i\hbox\@to\y@ii{% %-ickd \hss\csname sl\@slope\endcsname\char\n@v\hss}\kern#4}% \hss\csname sl\@slope\@dotted\endcsname\char\n@v\hss}\kern#4}% - \fi} + \fi +\fi} % end writ@slur \def\sp@pt#1{\divide\n@v65536\divide\n@v#1} @@ -1080,13 +1140,20 @@ % #2 (length)slope left #3 (length)slope right \def\curve#1#2#3{\getcurpos % ignore \curve behind a linebreak - \ifdim\y@v>\@xxxii\p@ \xdef\@meet{#1}\edef\l@length{#2}\edef\r@length{#3}\fi} + \ifdim\y@v>\@xxxii\p@ \xdef\@meet{#1}\edef\l@length{#2}\edef\r@length{#3}\relax + \else +% \message{\noexpand\curve #1#2#3 not expanded}% + \fi} % raise (or lower) only the mid of slur % #1 final height [number, steps of internote, relativ to beginning! note] %! #1 can still be changed to work relativ from default height ??? -\def\midslur#1{\getcurpos\ifdim\y@v>\@xxxii\p@ \xdef\@meet{#1}\fi} +\def\midslur#1{\getcurpos + \ifdim\y@v>\@xxxii\p@ \xdef\@meet{#1}\relax + \else +% \message{\noexpand\midslur #1 not expanded}% + \fi} \let\@meet\empty \let\l@length\empty @@ -1121,6 +1188,11 @@ \def\ibslurd{\y@i\stemfactor\interbeam \advance\y@i\h@lf\internote \y@i-\y@i \i@slur0\y@i d} +% initiate slur at half note width but NO vertical offset (for linkings) + +\def\ihsluru{\i@slur\h@lf\z@ u}% +\def\ihslurd{\i@slur\h@lf\z@ d}% + \let\itieu\issluru \let\itied\isslurd \def\istieu{\i@slur{1\p@ne}{\qu@rt\internote}u}% shorter for accords @@ -1132,11 +1204,12 @@ \def\dotted{\let\dott@d\@ne}\let\dott@d\empty %+ickd -% #1 hoffset #2 voffset #3 sense (u,d) #4 reference number #5 start note - \def\@mis{missing } +% #1 hoffset #2 voffset #3 sense (u,d) #4 reference number #5 start note + \def\i@slur#1#2#3#4#5{% + \check@staff \global\advance\N@s\@ne % update slurcounter \s@l@ctslur#4\relax % test for already invoked \islur @@ -1151,7 +1224,8 @@ \global\s@a\altportee % store altportee of current slur \getcurpos \advance\y@v#1\qn@width - \global\s@x\y@v}% start hpos (current pos including hoffset) + \global\s@x\y@v + \fi}% start hpos (current pos including hoffset) % terminate slur #1 reference number #2 end note % the various types only influence the horizontal offset, if you want to @@ -1164,8 +1238,11 @@ \def\tbsluru{\t@slur1} \def\tbslurd{\t@slur0} -\def\ttie#1{\let\T@i\@c \t@slur{-\p@ne}#1\@ne} -\def\tleg#1{\let\T@i\@c \tslur #1\@ne} +% \def\ttie#1{\let\T@i\@c \t@slur{-\p@ne}#1\@ne} +% \def\tleg#1{\let\T@i\@c \tslur #1\@ne} +% #1 should be braced... by David Alsop on January 11, 2009 +\def\ttie#1{\let\T@i\@c \t@slur{-\p@ne}{#1}\@ne} +\def\tleg#1{\let\T@i\@c \tslur{#1}\@ne} \let\tten\ttie \let\Tten\ttie \let\Tleg\tleg @@ -1177,6 +1254,7 @@ % #1 hoffset #2 reference number #3 end note \def\t@slur#1#2#3{% + \check@staff \s@l@ctslur#2\relax \y@iv#1\qn@width \def\@sense{\the\s@s}% @@ -1202,17 +1280,28 @@ \writ@slur\s@y\n@i\y@v{-\y@iv}% % reset sense of slur \global\s@s{x}\let\T@i\empty - \global\advance\N@s\m@ne}% update slur counter + \global\advance\N@s\m@ne + \fi}% update slur counter % this command is made to terminate the slur #1 exactly on the note pitch #2 \def\Tslurbreak#1#2{\s@l@ctslur#1\relax \def\@sense{\the\s@s}% {\if d\@sense \advance\transpose 2\raise0.2\Interligne\hbox{\tslur{#1}{#2}}\relax \else \advance\transpose -2\raise-0.2\Interligne\hbox{\tslur{#1}{#2}}\relax - \fi}} + \fi + }% +\global\let\@meet\empty +\let\l@length\empty +\let\r@length\empty +\let\@invert\empty +} + \def\Islurubreak#1#2{{\advance\transpose -1\isluru{#1}{#2}}} \def\Islurdbreak#1#2{{\advance\transpose 1\islurd{#1}{#2}}} +\def\TslurbreakNextBar#1#2{\off{\beforeruleskip}\hloff{\Tslurbreak{#1}{#2}}\off{-\beforeruleskip}} +\def\IslurubreakPrevBar#1#2{\off{-\afterruleskip}\hloff{\Islurubreak{#1}{#2}}\off{\afterruleskip}} +\def\IslurdbreakPrevBar#1#2{\off{-\afterruleskip}\hloff{\Islurdbreak{#1}{#2}}\off{\afterruleskip}} \def\y@eol{\y@\line@width \advance\y@-\sign@skip \advance\y@-\clef@skip \advance\y@-\s@indent} @@ -1224,7 +1313,7 @@ % #1 start pitch #2 final pitch #3 sense(u,d) #4 length[noteskip] -\def\C@slur#1#2#3#4{% +\def\C@slur#1#2#3#4{\check@staff \inhgetn@i#1\relax \n@ii\n@i \inhgetn@i#2\relax \relax \ifx\dott@d\empty \gdef\@dotted{}\else\gdef\@dotted{d}\fi %+ickd @@ -1237,7 +1326,8 @@ \advance\y@v\y@iii \kern\y@iv \writ@slur\n@ii\n@i\y@v\z@ - \kernm\y@iv} + \kernm\y@iv + \fi} \def\sslur{% \let\s@N\undefined % do not store instrument number @@ -1338,13 +1428,13 @@ %%% \def\normalmusicsize{\musicsize\tw@nty \comput@specifics - \afterruleskip\@ight\p@ \elemskip\fontdimen\si@\musicnorfont} + \afterruleskip\@ight\p@ \elemskip\fontdimen\si@\musicnorfont \clef@skip\z@} \def\smallmusicsize{\musicsize\sixt@@n \comput@specifics - \afterruleskip\si@\p@ \elemskip\fontdimen\si@\musicnorfont} + \afterruleskip\si@\p@ \elemskip\fontdimen\si@\musicnorfont \clef@skip\z@} \def\largemusicsize{\musicsize\@xxiv \comput@specifics - \afterruleskip\t@n\p@ \elemskip\fontdimen\si@\musicnorfont} + \afterruleskip\t@n\p@ \elemskip\fontdimen\si@\musicnorfont \clef@skip\z@} \def\Largemusicsize{\musicsize\@xxix \comput@specifics - \afterruleskip\t@n\p@ \elemskip\fontdimen\si@\musicnorfont} + \afterruleskip\t@n\p@ \elemskip\fontdimen\si@\musicnorfont \clef@skip\z@} \def\comput@fonts{% \ifnum\musicsize=\sixt@@n @@ -1615,10 +1705,11 @@ \g@loop \ifnum\uppersonginstrum<\lowersonginstrum \else + \noinstrum@nt\uppersonginstrum\s@l@ctinstr\C@Inter \global\advance\g@h-\stem@skip \global\advance\g@h-\g@b \global\advance\g@h\Interligne \global\advance\g@b-\Internote \raise\g@b\llap{\uplap{\offinterlineskip - \hbox{\musixfont\fourt@@n}\hbox{\vrule\@height\g@h + \set@normalnotesize\hbox{\musixfont\fourt@@n}\hbox{\vrule\@height\g@h \@width\internote}\hbox{\musixfont\fiv@t@@n}}\kern\internote}% \fi \repeat @@ -2182,7 +2273,7 @@ \def\rul@full#1{\hbox{\raise\altplancher\rlap{\vrule\@depth\hlthick \@height\systemheight\@width#1}}\addspace#1} -\def\rul@sep#1{\n@loop +\def\rul@sep#1{\noport@@\z@\n@loop \edef\rul@hidden{\csname h@bl\romannumeral\noinstrum@nt\endcsname}% \Comp@High\hbox{\raise\altitude\rlap{% % \message{(tw@=\meaning\tw@\space thr@@=\meaning\thr@@\space \number\noinstrum@nt->}\expandafter\show\rul@hidden @@ -2576,10 +2667,15 @@ \expandafter\edef\csname instrument\romannumeral\n@v\endcsname{#2}} \def\writ@names{\n@loop + \setbox\toks@box\null\relax + \ifnum\st@ffs>0\relax \setbox\toks@box\llap{\vbox{\hbox\@to\parindent{% \hss\csname instrument\romannumeral\noinstrum@nt\endcsname\hss}}\ \ }% + \fi \altportee\altitude \Comp@High \advance\y@v-\ht\toks@box - \advance\altportee\h@lf\y@v \writ@box \repeat} + \advance\altportee\h@lf\y@v + \writ@box + \repeat} %%% @@ -2592,8 +2688,26 @@ \newdimen\elemskip \newdimen\@l@mskip +\def\check@staff{% + \ifnum\noport@@>\st@ffs\relax + \ifx\Post@Elims\undefined\else + \immediate\write16{check@staff\space inst=\the\noinstrum@nt\space + staff=\the\noport@@\space st@ffs=\the\st@ffs\space Elim.}\relax + \fi + \ifnum\st@ffs>0\relax + \errmessage{Staff number (\the\noport@@) out of specified range (\the\st@ffs)!}\fi + \else\relax} +%\def\check@staff{\iftrue\relax} + +\let\ifactiveinstrument\check@staff + \def\nextstaff{\@ndstaff\beginstaff} \def\nextinstrument{\@ndstaff\begininstrument} +\def\prevstaff{\@ndstaff\advance\noport@@-2\relax\beginstaff} +\def\selectstaff#1{\@ndstaff\noport@@#1\relax + \advance\noport@@ -1\relax\beginstaff} +\def\selectinstrument#1{\@ndstaff\noinstrum@nt#1\relax + \advance\noinstrum@nt -1\relax\begininstrument} \def\begininstrument{\advance\noinstrum@nt\@ne \s@l@ctinstr \ifdim\internote<\p@seven6\Internote \set@tinynotesize \comput@sizes @@ -2848,7 +2962,9 @@ \def\zwqq{\def\w@h{\musixchar127}\y@v\wn@width \advancefalse \g@w} \def\g@w#1{\let\st@m\resetst@m - \getn@i#1\relax\let\n@fon\g@w \let\n@sym\w@h \writ@note} + \check@staff + \getn@i#1\relax\let\n@fon\g@w \let\n@sym\w@h \writ@note + \fi} \def\maxima{\def\w@h{\musixchar36}\y@v\tw@\wn@width \g@w} \def\longa{\def\w@h{\musixchar39}\y@v\wn@width \g@w} @@ -2910,6 +3026,10 @@ \def\lw#1{\kernm\wn@width\zw{#1}\kern\wn@width} \def\rw#1{\kern\wn@width\zw{#1}\kernm\wn@width} +\def\lwp#1{\kernm\wn@width\zwp{#1}\kern\wn@width} +\def\rwp#1{\kern\wn@width\zwp{#1}\kernm\wn@width} +\def\lwpp#1{\kernm\wn@width\zwpp{#1}\kern\wn@width} +\def\rwpp#1{\kern\wn@width\zwpp{#1}\kernm\wn@width} %%% common routines for noteheads with the same width as a quarter note @@ -2926,8 +3046,9 @@ \def\@zq{\let\st@m\setst@m \advancefalse\g@q} \def\@nq{\let\st@m\resetst@m \g@q} -\def\g@q#1{\getn@i#1\relax\let\n@fon\g@q \let\n@sym\q@u - \y@v\qn@width \writ@note} +\def\g@q#1{\check@staff + \getn@i#1\relax\let\n@fon\g@q \let\n@sym\q@u + \y@v\qn@width \writ@note\fi} \def\@qup{\let\st@m\upst@m \g@qp} \def\@qlp{\let\st@m\downst@m \g@qp} @@ -2935,8 +3056,9 @@ \def\@nqp{\let\st@m\resetst@m \g@qp} \def\q@up{\q@u\C@Point\z@\raise} -\def\g@qp#1{\getn@i#1\relax\let\n@fon\g@qp \let\n@sym\q@up - \y@v\qn@width \writ@note} +\def\g@qp#1{\check@staff + \getn@i#1\relax\let\n@fon\g@qp \let\n@sym\q@up + \y@v\qn@width \writ@note\fi} \def\@qupp{\let\st@m\upst@m \g@qpp} \def\@qlpp{\let\st@m\downst@m \g@qpp} @@ -2944,8 +3066,9 @@ \def\@nqpp{\let\st@m\resetst@m \g@qpp} \def\q@upp{\q@u\C@Point\@ne\raise} -\def\g@qpp#1{\getn@i#1\relax\let\n@fon\g@qpp \let\n@sym\q@upp - \y@v\qn@width \writ@note} +\def\g@qpp#1{\check@staff + \getn@i#1\relax\let\n@fon\g@qpp \let\n@sym\q@upp + \y@v\qn@width \writ@note\fi} \def\@lqu#1{\kernm\qn@width\advancefalse\@qu{#1}\kern\qn@width} \def\@rqu#1{\kern\qn@width\advancefalse\@qu{#1}\kernm\qn@width} @@ -2980,14 +3103,19 @@ \def\@ccu{\n@vii\@xli \let\st@m\up@flag \g@q} \def\@cccu{\n@vii42\let\st@m\up@flag \g@q} \def\@ccccu{\n@vii43\let\st@m\up@flag \g@q} +\def\@cccccu{\n@vii44\let\st@m\up@flag \g@q} \def\@cl{\n@vii\@xlv \let\st@m\down@flag \g@q} \def\@ccl{\n@vii46\let\st@m\down@flag \g@q} \def\@cccl{\n@vii47\let\st@m\down@flag \g@q} \def\@ccccl{\n@vii48\let\st@m\down@flag \g@q} +\def\@cccccl{\n@vii49\let\st@m\down@flag \g@q} \def\@cup{\n@vii\@xl \let\st@m\up@flag \g@qp} +\def\@ccup{\n@vii\@xli \let\st@m\up@flag \g@qp} \def\@clp{\n@vii\@xlv \let\st@m\down@flag \g@qp} +\def\@cclp{\n@vii46\let\st@m\down@flag \g@qp} + \def\@cupp{\n@vii\@xl \let\st@m\up@flag \g@qpp} \def\@clpp{\n@vii\@xlv \let\st@m\down@flag \g@qpp} @@ -3028,6 +3156,11 @@ \def\lhl{\h@symbol\@lql} \def\rhl{\h@symbol\@rql} +\def\lhp#1{\loff{\zhp{#1}}} +\def\rhp#1{\roff{\zhp{#1}}} +\def\lhpp#1{\loff{\zhpp{#1}}} +\def\rhpp#1{\roff{\zhpp{#1}}} + %%% quarter notes, stem up \def\q@symbol{\def\q@u{\musixfont\s@v@n}} @@ -3089,40 +3222,49 @@ \def\cca{\q@symbol\@cca} \def\ccca{\q@symbol\@ccca} \def\cccca{\q@symbol\@cccca} +\def\ccccca{\q@symbol\@ccccca} \def\cu{\q@symbol\@cu} \def\ccu{\q@symbol\@ccu} \def\cccu{\q@symbol\@cccu} \def\ccccu{\q@symbol\@ccccu} +\def\cccccu{\q@symbol\@cccccu} \def\cup{\q@symbol\@cup} +\def\ccup{\q@symbol\@ccup} \def\cupp{\q@symbol\@cupp} \def\zcu{\advancefalse\cu} \def\zccu{\advancefalse\ccu} \def\zcccu{\advancefalse\cccu} \def\zccccu{\advancefalse\ccccu} +\def\zcccccu{\advancefalse\cccccu} \def\lcu#1{\kernm\qn@width\zcu{#1}\kern\qn@width} \def\rcu#1{\kern\qn@width\zcu{#1}\kernm\qn@width} \def\zcup{\advancefalse\cup} +\def\zccup{\advancefalse\ccup} \def\zcupp{\advancefalse\cupp} \def\cl{\q@symbol\@cl} \def\ccl{\q@symbol\@ccl} \def\cccl{\q@symbol\@cccl} \def\ccccl{\q@symbol\@ccccl} +\def\cccccl{\q@symbol\@cccccl} \def\clp{\q@symbol\@clp} +\def\cclp{\q@symbol\@cclp} \def\clpp{\q@symbol\@clpp} \def\zcl{\advancefalse\cl} \def\zccl{\advancefalse\ccl} \def\zcccl{\advancefalse\cccl} \def\zccccl{\advancefalse\ccccl} +\def\zcccccl{\advancefalse\cccccl} \def\zclp{\advancefalse\clp} +\def\zcclp{\advancefalse\cclp} \def\zclpp{\advancefalse\clpp} \def\lcl#1{\kernm\qn@width\zcl{#1}\kern\qn@width} @@ -3181,20 +3323,30 @@ \def\s@l@cte{\edef\e@x{\csname e@x\romannumeral\n@i\endcsname}% \edef\e@z{\csname e@z\romannumeral\n@i\endcsname}\s@l@ctd} +\def\s@l@ctf{\edef\f@x{\csname f@x\romannumeral\n@i\endcsname}% + \edef\f@z{\csname f@z\romannumeral\n@i\endcsname}\s@l@cte} + +\def\s@l@ctg{\edef\g@x{\csname g@x\romannumeral\n@i\endcsname}% + \edef\g@z{\csname g@z\romannumeral\n@i\endcsname}\s@l@ctf} + \def\ibu#1{\s@l@ctbeam#1\relax \i@bu} \def\ibbu#1{\s@l@ctbeam#1\relax \s@l@ctc \i@bbu} \def\ibbbu#1{\s@l@ctbeam#1\relax \s@l@ctd \i@bbbu} \def\ibbbbu#1{\s@l@ctbeam#1\relax \s@l@cte \i@bbbbu} +\def\ibbbbbu#1{\s@l@ctbeam#1\relax \s@l@ctf \i@bbbbbu} \def\ibl#1{\s@l@ctbeam#1\relax \i@bl} \def\ibbl#1{\s@l@ctbeam#1\relax \s@l@ctc \i@bbl} \def\ibbbl#1{\s@l@ctbeam#1\relax \s@l@ctd \i@bbbl} \def\ibbbbl#1{\s@l@ctbeam#1\relax \s@l@cte \i@bbbbl} +\def\ibbbbbl#1{\s@l@ctbeam#1\relax \s@l@ctf \i@bbbbbl} -\def\i@bu#1#2{\ifnum\b@n=\z@ \else \C@tb\t@bbu\qn@width \fi \global\b@n\m@ne +\def\i@bu#1#2{%\check@staff + \ifnum\b@n=\z@ \else \C@tb\t@bbu\qn@width \fi \global\b@n\m@ne \inhgetn@i#1\relax \n@v#2 \C@ib+\global\advance\b@x\qd@skip} -\def\i@bl#1#2{\ifnum\b@n=\z@ \else \C@tb\t@bbl\lthick \fi \global\b@n\@ne +\def\i@bl#1#2{%\check@staff + \ifnum\b@n=\z@ \else \C@tb\t@bbl\lthick \fi \global\b@n\@ne \inhgetn@i#1\relax \n@v#2 \C@ib-} \def\C@ib#1{\max@n@v\nin@\min@n@v{-\nin@}\global\b@p\n@v % clip slope number @@ -3212,10 +3364,15 @@ \i@bbl{#1}{#2}\C@ba\b@z\m@ne \C@ba\c@z\m@ne \fi\n@bbbl} \def\i@bbbbu#1#2{\ifnum\b@n=\z@ - \i@bbbu{#1}{#2}\C@ba\b@z\@ne \C@ba\c@z\@ne \C@ba\d@z\@ne \fi \n@bbbbu} + \i@bbbu{#1}{#2}\C@ba\b@z\@ne \C@ba\c@z\@ne \C@ba\d@z\@ne \fi\n@bbbbu} \def\i@bbbbl#1#2{\ifnum\b@n=\z@ \i@bbbl{#1}{#2}\C@ba\b@z\m@ne \C@ba\c@z\m@ne \C@ba\d@z\m@ne \fi\n@bbbbl} +\def\i@bbbbbu#1#2{\ifnum\b@n=\z@ + \i@bbbbu{#1}{#2}\C@ba\b@z\@ne \C@ba\c@z\@ne \C@ba\d@z\@ne \C@ba\e@z\@ne \fi\n@bbbbbu} +\def\i@bbbbbl#1#2{\ifnum\b@n=\z@ + \i@bbbbl{#1}{#2}\C@ba\b@z\m@ne \C@ba\c@z\m@ne \C@ba\d@z\m@ne \C@ba\e@z\m@ne \fi\n@bbbbbl} + %%% changing beams \def\Dec@b#1#2{\ifnum\b@n=#1#2\fi\ifnum\b@n=-#1#2\fi} @@ -3234,12 +3391,19 @@ \def\nbbbbl#1{\s@l@ctbeam#1\relax \s@l@cte \Dec@b\@ne\n@bbl \Dec@b\tw@\n@bbbl \Dec@b\thr@@\n@bbbbl} +\def\nbbbbbu#1{\s@l@ctbeam#1\relax \s@l@ctf + \Dec@b\@ne\n@bbu \Dec@b\tw@\n@bbbu \Dec@b\thr@@\n@bbbbu \Dec@b\f@ur\n@bbbbbu} +\def\nbbbbbl#1{\s@l@ctbeam#1\relax \s@l@ctf + \Dec@b\@ne\n@bbl \Dec@b\tw@\n@bbbl \Dec@b\thr@@\n@bbbbl \Dec@b\f@ur\n@bbbbbl} + \def\n@bbu{\C@nb\c@z\c@x\@ne\qd@skip} \def\n@bbl{\C@nb\c@z\c@x\@ne\z@} \def\n@bbbu{\C@nb\d@z\d@x\tw@\qd@skip} \def\n@bbbl{\C@nb\d@z\d@x\tw@\z@} \def\n@bbbbu{\C@nb\e@z\e@x\thr@@\qd@skip} \def\n@bbbbl{\C@nb\e@z\e@x\thr@@\z@} +\def\n@bbbbbu{\C@nb\f@z\f@x\f@ur\qd@skip} +\def\n@bbbbbl{\C@nb\f@z\f@x\f@ur\z@} \def\C@nb#1#2#3#4{% \global#1\b@z @@ -3288,27 +3452,32 @@ \advance\y@iv\y@ \comp@slope\y@ \advance\y@iii\s@lope \repeat \fi} -\def\s@l@ctcde{\s@l@ctc \s@l@ctd \s@l@cte } +\def\s@l@ctcde{\s@l@ctc \s@l@ctd \s@l@cte \s@l@ctf } \def\tbu#1{\s@l@ctbeam#1\relax \C@tb\t@bbu\qn@width } \def\tbbu#1{\s@l@ctbeam#1\relax \s@l@ctcde \t@bbu} \def\tbbbu#1{\s@l@ctbeam#1\relax \s@l@ctcde \t@bbbu} \def\tbbbbu#1{\s@l@ctbeam#1\relax \s@l@ctcde \t@bbbbu} +\def\tbbbbbu#1{\s@l@ctbeam#1\relax \s@l@ctcde \t@bbbbbu} \def\tbl#1{\s@l@ctbeam#1\relax \C@tb\t@bbl\lthick } \def\tbbl#1{\s@l@ctbeam#1\relax \s@l@ctcde \t@bbl} \def\tbbbl#1{\s@l@ctbeam#1\relax \s@l@ctcde \t@bbbl} \def\tbbbbl#1{\s@l@ctbeam#1\relax \s@l@ctcde \t@bbbbl} +\def\tbbbbbl#1{\s@l@ctbeam#1\relax \s@l@ctcde \t@bbbbbl} \def\beam@pos#1{\getcurpos\y@ii\y@v\advance\y@ii-#1} \def\C@tb#1#2{% \n@ii\b@n \ifnum\n@ii<\z@ \n@ii-\n@ii \fi - \ifcase\n@ii \or \or \s@l@ctc \or \s@l@ctd \or \s@l@cte \fi + \ifcase\n@ii \or \or \s@l@ctc \or \s@l@ctd \or \s@l@cte \or \s@l@ctf \or \s@l@ctg\fi \ifnum\b@n<\m@ne #1\fi \ifnum\b@n>\@ne #1\fi \y@i\b@z \advance\y@i-\altportee \beam@pos\b@x - \advance\y@ii#2\llap{\@beam\kernm#2}\global\b@n\z@} + \advance\y@ii#2\relax + \check@staff + \llap{\@beam\kernm#2}\relax + \fi\global\b@n\z@} \def\t@bbu{\n@v\tw@ \C@b\t@bbbu\n@bbu\y@i\c@z \beam@pos\c@x \t@xbu} \def\t@bbl{\n@v\tw@ \C@b\t@bbbl\n@bbl\y@i\c@z \beam@pos\c@x \t@xbl} @@ -3316,8 +3485,11 @@ \def\t@bbbu{\n@v\thr@@ \C@b\t@bbbbu\n@bbbu\y@i\d@z \beam@pos\d@x \t@xbu} \def\t@bbbl{\n@v\thr@@ \C@b\t@bbbbl\n@bbbl\y@i\d@z \beam@pos\d@x \t@xbl} -\def\t@bbbbu{\n@v\f@ur \C@b\empty\n@bbbbu\y@i\e@z \beam@pos\e@x \t@xbu} -\def\t@bbbbl{\n@v\f@ur \C@b\empty\n@bbbbl\y@i\e@z \beam@pos\e@x \t@xbl} +\def\t@bbbbu{\n@v\f@ur \C@b\t@bbbbbu\n@bbbbu\y@i\e@z \beam@pos\e@x \t@xbu} +\def\t@bbbbl{\n@v\f@ur \C@b\t@bbbbbl\n@bbbbl\y@i\e@z \beam@pos\e@x \t@xbl} + +\def\t@bbbbbu{\n@v\fiv@ \C@b\empty\n@bbbbbu\y@i\f@z \beam@pos\f@x \t@xbu} +\def\t@bbbbbl{\n@v\fiv@ \C@b\empty\n@bbbbbl\y@i\f@z \beam@pos\f@x \t@xbl} \def\C@b#1#2{% \n@ii\b@n \ifnum\n@ii<\z@ \n@ii-\n@ii \fi @@ -3331,9 +3503,13 @@ \def\t@xbl{\C@txb\lthick\b@amthick\interbeam\hlthick<} \def\C@txb#1#2#3#4#5{\advance\y@i-\altportee - \advance\y@ii#1\llap{\@beam\kernm#1}% + \advance\y@ii#1\relax + \check@staff + \llap{\@beam\kernm#1}% \ifnum\b@n#5\z@ \comp@slope\y@ii \advance\y@i\s@lope - \raise\y@i\rlap{\kern#4\vrule\@height#3\@depth#2\@width\lthick}\fi + \raise\y@i\rlap{\kern#4\vrule\@height#3\@depth#2\@width\lthick}\relax + \fi + \fi \ifnum\b@n<\z@ \global\advance\b@n\@ne \fi \ifnum\b@n>\z@ \global\advance\b@n\m@ne \fi} @@ -3353,6 +3529,8 @@ \def\Ibbbl#1{\s@l@ctbeam#1\relax \s@l@ctd \I@bl\i@bbbl} \def\Ibbbbu#1{\s@l@ctbeam#1\relax \s@l@cte \I@bu\i@bbbbu} \def\Ibbbbl#1{\s@l@ctbeam#1\relax \s@l@cte \I@bl\i@bbbbl} +\def\Ibbbbbu#1{\s@l@ctbeam#1\relax \s@l@cte \I@bu\i@bbbbbu} +\def\Ibbbbbl#1{\s@l@ctbeam#1\relax \s@l@cte \I@bl\i@bbbbbl} % compute altitude difference of tried beam in \y@iv % and compare with notes altitude difference @@ -3426,10 +3604,11 @@ \def\lppt{\g@pt\m@ne\@ne} \def\lpppt{\g@pt\m@ne\tw@} -\def\g@pt#1#2#3{\inhgetn@i#3\relax \relax % two \relax since the first one +\def\g@pt#1#2#3{\check@staff + \inhgetn@i#3\relax \relax % two \relax since the first one \ifnum\n@i<\@c % in swallowed by \inhgetn@i \ifodd\n@i \else\advance\n@i#1\fi - \pl@base \raise\y@i\hbox{\musixchar#2}\fi} + \pl@base \raise\y@i\hbox{\musixchar#2}\fi\fi} %%% rests @@ -3457,14 +3636,18 @@ \def\PAUSe{\adv@box{\musixchar59}} \def\PAuse{\adv@box{\musixchar58}} -\def\pause{\adv@box{\raise\si@\internote\hbox{\musixchar61}}} -\def\pausep{\wholeshift{\pt5}\pause} +\def\pause{\check@staff + \adv@box{\raise\si@\internote\hbox{\musixchar61}}\fi} +\def\pausep{%\check@staff + \wholeshift{\pt5}\pause} \def\liftpause{\C@ps\@l@v@n\si@} \def\liftpausep{\C@pspt\@l@v@n\si@} -\def\hpause{\adv@box{\raise\f@ur\internote\hbox{\musixchar60}}} +\def\hpause{\check@staff + \adv@box{\raise\f@ur\internote\hbox{\musixchar60}}\fi} \let\hp\hpause -\def\hpausep{\wholeshift{\pt5}\hpause} +\def\hpausep{%\check@staff + \wholeshift{\pt5}\hpause} \def\lifthpause{\C@ps\t@n\f@ur} \def\lifthpausep{\C@pspt\t@n\f@ur} @@ -3473,11 +3656,14 @@ \advance\lift@rest -2.5\fontdimen\fiv@\musixfont \raise\lift@rest\hbox\@to\noteskip{#1\hss}}\advance\locx@skip\noteskip} -\def\qp{\adv@restbox{\musixchar62}} +\def\qp{\check@staff + \adv@restbox{\musixchar62}\fi} \let\soupir\qp -\def\ds@oup{\adv@restbox{\musixchar63}} -\def\qs{\adv@restbox{\musixchar64}} +\def\ds@oup{\check@staff + \adv@restbox{\musixchar63}\fi} +\def\qs{\check@staff + \adv@restbox{\musixchar64}\fi} \def\hs{\adv@restbox{\musixchar65}} \def\qqs{\adv@restbox{\musixchar66}} @@ -3544,7 +3730,9 @@ \message{\@nod sharpen \noexpand\dsh \t@ruc}\let\@Ti\empty \or \n@v\thr@@ \or \n@v\tw@ \fi} -\def\C@acc#1{\inhgetn@i#1\relax \relax +\def\C@acc#1{% + \check@staff + \inhgetn@i#1\relax \ifx\rel@sw\@ne \s@l@ctsigns \n@iii\n@i \advance\n@iii-\ut@ref \advance\n@iii-\ut@ref @@ -3562,7 +3750,8 @@ % \n@ii positive signature limit, \n@ii-8 negative signature limit \advance\n@ii-\a@s \advance\n@ii\si@ \divide\n@ii\s@v@n \@Tii - \fi \advance\n@v\@l \advance\n@v\n@vi \@Ti} + \fi \advance\n@v\@l \advance\n@v\n@vi \@Ti + \fi} \def\@nod{Can't double } @@ -3638,13 +3827,17 @@ \def\lpzst{\n@iv19\lacc@Char} \def\dpzst{\lpzst} -\def\uacc@Char#1{\inhgetn@i#1\relax \relax +\def\uacc@Char#1{\check@staff + \inhgetn@i#1\relax \relax \ifnum\n@i<\@ight \ifodd\n@i \else\advance\n@i\@ne \fi \fi - \zchar\n@i\C@ChaR} + \zchar\n@i\C@ChaR + \fi} -\def\lacc@Char#1{\inhgetn@i#1\relax \relax +\def\lacc@Char#1{\check@staff + \inhgetn@i#1\relax \relax \ifnum\n@i>\@ne \ifodd\n@i \else\advance\n@i\m@ne \fi \fi - \zchar\n@i\C@ChaR} + \zchar\n@i\C@ChaR + \fi} \def\C@ChaR{\musixfont\char\n@iv} @@ -3849,12 +4042,33 @@ %%% octave lines -\def\octnumber{\ppffsixteen8} +\def\octnumberup{\octnumberdefault\vrule width 0pt height2ex} +\def\octnumberdefault{\ppffsixteen8} +\def\octnumberdown{\octnumberdefault$^a$\eightit\kern 0.3em bassa\vrule width 0pt depth \Internote} + +\def\octfinup{\check@staff + \n@v\@xxiii\n@ii\@xxiv\global\o@swz={\@ne}\fi + \C@of} +\def\octfindown{\check@staff + \n@v\@xxv \n@ii\@xxvi\global\o@swz={\z@}\fi + \C@of} +\def\C@of#1#2{\check@staff + \y@v#2\noteskip\zcharnote{#1}{\hbox\@to\y@v{% + \xdef\o@sw{\csname o@swz\endcsname}\relax + \octnumber\mxsps\xleaders\hbox{\char\n@v}\hfill\char\n@ii}}% + \fi} -\def\octfinup{\n@v\@xxiii\n@ii\@xxiv\C@of} -\def\octfindown{\n@v\@xxv \n@ii\@xxvi \C@of} -\def\C@of#1#2{\y@v#2\noteskip\zcharnote{#1}{\hbox\@to\y@v{% - \octnumber\mxsps\xleaders\hbox{\char\n@v}\hfill\char\n@ii}}} +%%%%%% +% selecting \octnumber??? according to \o@sw +\def\octnumber{% \show\o@sw + \setbox\w@rkbox\hbox{% + \ifnum \@ne=\the\o@sw\relax \octnumberup + \else \octnumberdown + \fi}% + \ifdim \wd\w@rkbox>\y@v\setbox\w@rkbox\hbox{\octnumberdefault}\fi + \box\w@rkbox +} + %%%%%% @@ -3874,6 +4088,7 @@ \newskip\o@yv % height of octline \newskip\o@yvi % height of octline +\newtoks\o@swz % sense of octline for \octfin[up][down] without number \newtoks\o@swi % sense of octline \newtoks\o@swii % sense of octline \newtoks\o@swiii % sense of octline @@ -3902,32 +4117,36 @@ \def\ioctfinup{\Ioctfinup0} \def\ioctfindown{\Ioctfindown0} -\def\Ioctfinup#1{\s@l@ctoctline#1\relax +\def\Ioctfinup#1{\check@staff + \s@l@ctoctline#1\relax \ifdim\o@x < \maxdimen\errmessage{\@mis \noexpand\Toctfin \number #1}\fi -% \global\expandafter\let\o@sw\@ne - \global\o@sw={\@ne}% + \global\o@sw={\@ne}\fi \C@O} -\def\Ioctfindown#1{\s@l@ctoctline#1\relax +\def\Ioctfindown#1{\check@staff + \s@l@ctoctline#1\relax \ifdim\o@x < \maxdimen\errmessage{\@mis \noexpand\Toctfin \number #1}\fi -% \global\expandafter\let\o@sw\empty - \global\o@sw={\z@}% + \global\o@sw={\z@}\fi \C@O} -\def\C@O#1{% +\def\C@O#1{\check@staff \getcurpos\global\o@x\y@v % store horizontal pos \inhgetn@i#1\relax\pl@base\advance\y@i\altportee % get absolute height - \global\o@y\y@i } + \global\o@y\y@i + \fi} % clise check@staff in Ioctfinup/down \def\toctfin{\Toctfin0} -\def\Toctfin#1{\s@l@ctoctline#1\relax - \advance\o@y-\altportee \let\T@ii\char \C@TO \global\o@x\maxdimen } +\def\Toctfin#1{\check@staff + \s@l@ctoctline#1\relax + \advance\o@y-\altportee \let\T@ii\char \C@TO \global\o@x\maxdimen + \fi} -\def\C@TO{% +\def\C@TO{\check@staff \ifnum \@ne=\the\o@sw \n@v\@xxiii \n@ii\@xxiv \else \n@v\@xxv \n@ii\@xxvi \fi \ifx\T@ii\n@ii \y@v\lin@pos \else \getcurpos \fi \advance\y@v-\o@x \kernm\y@v \raise\o@y\hbox\@to\y@v{% - \octnumber\mxsps\xleaders\hbox{\char\n@v}\hfill\T@ii\n@ii}}% + \octnumber\mxsps\xleaders\hbox{\char\n@v}\hfill\T@ii\n@ii}\relax + \fi}% % Liftoctline #1 refnumber #2 lift[steps of internote] @@ -3937,6 +4156,7 @@ %%% some specials \def\metron#1#2{{\stemlength\f@ur\noteskip\t@n\p@ #1 1\ = #2}} +\def\metronequiv#1#2{{\stemlength\f@ur\noteskip\t@n\p@ #1 1\ = #2 1}} \def\xtuplet#1#2{\n@iv#1\advance\n@iv\m@ne {\sign@skip=\n@iv\noteskip \sign@skip=0.5\sign@skip \xdef\half@sign@skip{\the\sign@skip}}% @@ -3945,9 +4165,9 @@ %\check -\def\zbreath{\raise\si@\internote\rlap{\BIGfont'}} -\def\cbreath{\adv@box{\raise\si@\internote - \hbox\@to\noteskip{\hss\BIGfont'\hss}}} +\def\zbreath{\check@staff\raise\si@\internote\rlap{\BIGfont'}\fi} +\def\cbreath{\check@staff\adv@box{\raise\si@\internote + \hbox\@to\noteskip{\hss\BIGfont'\hss}}\fi} % The following macros can be used to surround a note by parentheses % \l[r]par p produces a left[right] parenthesis at pitch p (Ian Collier) @@ -4101,22 +4321,22 @@ \def\hcharnote{\let\@Ti\hard@box \C@ch} \def\charnote#1#2{\zcharnote{#1}{#2}\sk} -\def\C@ch#1#2{\inhgetn@i#1\relax\pl@base\raise\y@i\@Ti{#2}} +\def\C@ch#1#2{\check@staff\inhgetn@i#1\relax\pl@base\raise\y@i\@Ti{#2}\fi} \def\zmidstaff{\let\@Ti\rlap \C@mid} \def\lmidstaff{\let\@Ti\llap \C@mid} \def\cmidstaff{\let\@Ti\lrlap \C@mid} -\def\C@mid#1{\y@v\interportee \advance\y@v\f@ur\Interligne \divide\y@v\tw@ - \raise\y@v\uplap{\@Ti{\strut#1}\vss}} +\def\C@mid#1{\check@staff\y@v\interportee \advance\y@v\f@ur\Interligne \divide\y@v\tw@ + \raise\y@v\uplap{\@Ti{\strut#1}\vss}\fi} -\def\zchar#1#2{\raise#1\internote\rlap{#2}} -\def\lchar#1#2{\raise#1\internote\llap{#2}} -\def\cchar#1#2{\raise#1\internote\lrlap{#2}} -\def\hchar#1#2{\raise#1\internote\hard@box{#2}} +\def\zchar#1#2{\check@staff\raise#1\internote\rlap{#2}\fi} +\def\lchar#1#2{\check@staff\raise#1\internote\llap{#2}\fi} +\def\cchar#1#2{\check@staff\raise#1\internote\lrlap{#2}\fi} +\def\hchar#1#2{\check@staff\raise#1\internote\hard@box{#2}\fi} -\def\uptext#1{\zchar\t@n{#1}} -\def\Uptext#1{\zchar\fourt@@n{#1}} +\def\uptext#1{\check@staff\zchar\t@n{#1}\fi} +\def\Uptext#1{\check@staff\zchar\fourt@@n{#1}\fi} \def\setsongraise#1#2{\n@v#1\relax % select instrument \expandafter\def\csname T@R\romannumeral\n@v\endcsname{#2}} @@ -4224,6 +4444,7 @@ \stafftopmarg\thr@@\Interligne \staffbotmarg\thr@@\Interligne \let\n@li\fiv@ \let\n@lii\fiv@ \let\n@liii\fiv@ \let\n@liv\fiv@ \let\n@lv\fiv@ \let\n@lvi\fiv@ + \noinstrum@nt1\s@l@ctinstr\internote\Internote \resetclefsymbols} \def\resetclefsymbols{% @@ -4239,10 +4460,10 @@ \let\nbinstruments\maxinstruments \normalnotesize \normalmusicsize +\normalnotesize% needs rerun to initialize \metron stem length (a very historical bug since T.103 or earlier) (T.114, Hiroaki) \resetlayout \def\nbinstruments{1} - %%% % % This is muflex.tex version 1.00 , January 1993 @@ -4503,3 +4724,4 @@ \catcode`\@=\catcodeat \endinput + diff --git a/Master/texmf-dist/tex/generic/musixtex/musixtmr.tex b/Master/texmf-dist/tex/generic/musixtex/musixtmr.tex new file mode 100644 index 00000000000..ad219dbbc97 --- /dev/null +++ b/Master/texmf-dist/tex/generic/musixtex/musixtmr.tex @@ -0,0 +1,74 @@ +%% +%% musixtmr.tex : Times-series fonts definition for MusiXTeX +%% +%% usage: +%% \input musixtex +%% \input musixtmr +%% ... +%% +%% This file is public domain. +%% +%% Author: +%% Hiroaki MORIMOTO +%% Tokyo, Japan +%% URL(en): http://homepage1.nifty.com/kuuku/pub/musixtex/index-e.html +%% (jp): http://homepage1.nifty.com/kuuku/pub/musixtex/index.html +%% +%% reference: musixtex.tex (T.99) 268-508 +%% MusiXTeX: (c) Daniel Taupin, et al. +%% +%% History: see trailer. +% +\immediate\write16{MusiXTimesFonts\space<2009/10/15>} +% +% 8pt roman, bold, and italic +\font\eightrm=ptmr7t at 8pt +\font\eightbf=ptmb7t at 8pt +\font\eightit=ptmri7t at 8pt +% +% 9pt +\font\ninerm=ptmr7t at 9pt +\font\ninebf=ptmb7t at 9pt +\font\nineit=ptmri7t at 9pt +% +% 10pt +\font\tenrm=ptmr7t +\font\tenbf=ptmb7t +\font\tenit=ptmri7t +% +% 12pt +\font\twelverm=ptmr7t scaled \magstep 1 +\font\twelvebf=ptmb7t scaled \magstep 1 +\font\twelveit=ptmri7t scaled \magstep 1 +% +% Large fonts for titles +% (If you prefer Times-bold, use ptmb7t instead of ptmr7t) +\font\bigfont=ptmr7t scaled \magstep2 % 14pt +\font\Bigfont=ptmr7t scaled \magstep3 % 17pt +\font\BIgfont=ptmr7t scaled \magstep4 % 20pt +\font\BIGfont=ptmr7t scaled \magstep5 % 25pt +% +% PMX changes font assignment in pmx.tex +% \BIGfont=\fontid bx10 scaled\magstep4 +% \Bigfont=\fontid bx10 scaled\magstep2 +\ifx\pmxversion\undefined\relax\else + \font\Bigfont=ptmr7t scaled \magstep2 % 14pt + \font\BIGfont=ptmr7t scaled \magstep4 % 20pt +\fi +% +\normtype +\endinput +%% +%% History +%% +%% 2001/08/21 +%% first publish +%% 2004/12/24 +%% no functional change. (email & real address change) +%% 2007/06/11 +%% no functional change. (email protection, real address change, URL change) +%% 2008/08/01 +%% Font assignment change on PMX. +%% 2009/10/15 +%% small update for MusiXTeX T.114 final release. +%% diff --git a/Master/texmf-dist/tex/generic/musixtex/musixtri.tex b/Master/texmf-dist/tex/generic/musixtex/musixtri.tex index 0b4f2923991..52375e170df 100644 --- a/Master/texmf-dist/tex/generic/musixtex/musixtri.tex +++ b/Master/texmf-dist/tex/generic/musixtex/musixtri.tex @@ -17,9 +17,9 @@ % Boston, MA 02111-1307, USA. % -\immediate\write10{MusiXTRIplepoint 0.36\space<1 March 1995>} +\immediate\write16{MusiXTRIplepoint 1.05\space<30 April 2002>} -\ifx\undefined\lpppt \else \endinput \fi +\ifx\undefined\hlppp \else \endinput \fi \edef\catcodeat{\the\catcode`\@}\catcode`\@=11 diff --git a/Master/texmf-dist/tex/generic/musixtex/tuplet.tex b/Master/texmf-dist/tex/generic/musixtex/tuplet.tex new file mode 100644 index 00000000000..0dcb7aca469 --- /dev/null +++ b/Master/texmf-dist/tex/generic/musixtex/tuplet.tex @@ -0,0 +1,147 @@ +% +% tuplet.tex - conventional tuplet brackets for MusiXTeX. +% Col. G. L. Sicherman. Last revised 2003-05-17. +% +% MusiXTeX is free software, licensed under the GNU General Public +% License. This file is also free software. You may use it and +% modify it as you please so long as you leave this message intact. +% +% To use this file with MusiXTeX, refer to it in your source code +% after MusiXTeX: +% +% \input musixtex +% \input tuplet +% +% This file uses macros defined in musixtex.tex. +% +% Standard MusiXTeX uses \uptrio and \downtrio to print tuplet brackets. +% This file defines \uptuplet and \downtuplet, with the same arguments: +% +% #1 : starting pitch +% #2 : width of bracket, in (\noteskip)s +% #3 : slope of bracket, in multiples of 1-1/8 degrees +% +% The user defines the text to appear in the opening as \tuplettxt. +% This is to avoid conflicting with the \txt in standard MusiXTeX. +% +% Examples: +% +% Draw a triplet bracket over the notes, starting at pitch "p", +% 1.25\noteskip wide, with a slope up of 3-3/8 degrees: +% +% \uptuplet p{1.25}3 +% +% Draw a sextuplet bracket over the notes, starting at pitch "a", +% 2.5\noteskip wide, with a slope down of 4-1/2 degrees: +% +% \def\tuplettxt{\smallppff 6\/\/} +% \downtuplet{a}{2.5}{-4} +% +% Send comments, complaints, and bouquets to the Colonel at +% . +% +\makeatletter % Names of internal macros contain atpersats. + +% Standard MusiXTeX prints a small "3" (or other number) within +% the bracket. Here we print the "3" in an opening in the bracket, +% so we need not use a small font. +% +% The double italic correction compensates for centering the number +% on the bracket line. + +\def\tuplettxt{\smallppff3\/\/} + +%%% The rest is adapted from standard MusixTeX. + +\newdimen\y@vii % x of right end of left part of bracket. +\newdimen\y@viii % x of left end of right part of bracket. +\newdimen\y@ix +\newbox\tuptxtb@x + +% v@rline #1=height[dimen] #2=length[dimen] #3=slope (1\eqiv 1.125degree) +% (comments and ideas from Ian Collier) (from -20 upto 20 ) +% This macro is used by some of the others which follow, +% using it directly it must be set in zero box + +\def\v@rline#1#2#3{\n@v#3\y@i#2% + \setbox\tuptxtb@x\hbox{\hskip1pt\tuplettxt\hskip1pt}% + \y@vii=\h@lf\y@i\advance\y@vii-\h@lf\wd\tuptxtb@x% + \n@ii-\tw@nty \min@n@v\n@ii + \max@n@v\tw@nty \n@iii\n@v + \ifnum\n@v<\z@ \n@v-\n@v \advance\n@v\tw@nty \fi % offset to lower linechars + \advance\n@v\@xxix + \setbox\ch@box\hbox{\mxsps\char\n@v}% + \ifdim\y@vii<\wd\ch@box \y@vii\wd\ch@box\fi% At least one whole segment! + \y@viii=\y@i\advance\y@viii-\y@vii% + \y@iv\wd\ch@box \y@ii\qu@rt\p@ \y@ii\n@iii\y@ii \y@iii\z@ + \raise#1\internote\hbox{\mxsps\char\n@iv +% +% Build bracket with slanted line segments of width 10pt. +% Left part of bracket: +% + \loop\ifdim\y@iv<\y@vii\raise\y@iii\copy\ch@box + \advance\y@iv\wd\ch@box \advance\y@iii\y@ii \repeat +% +% last element +% +% \finalheight=2.5\completewidth +% \finalheight=\n@iii\finalheight +% \divide\finalheight by 100 +% \advance\overlapwidth by -\completewidth +% \stepheight=-2.5\overlapwidth +% \stepheight=\n@iii\stepheight +% \divide\stepheight by 100 +% \advance\curheight by \stepheight +% \kern -\overlapwidth \raise\curheight \box\ch@box +% + \y@ix=\y@vii\advance\y@ix-\y@iv\hbox to\y@ix{\hss}% + \y@ix\y@vii\advance\y@ix-\wd\ch@box% + \y@iii\n@iii\y@ix\y@iii2\h@lf\y@iii\divide\y@iii\@c\raise\y@iii\copy\ch@box% +% +% Text: +% + \y@v2\h@lf\y@i \y@v\n@iii\y@v \divide\y@v\@c% + \y@ix=-\y@vii \advance\y@ix\h@lf\y@i \advance\y@ix-\h@lf\wd\tuptxtb@x% + \hbox to\y@ix{\hss}% + \y@iii\h@lf\y@v \raise\y@iii\vbox to\z@{% + \vss{\copy\tuptxtb@x}\vss} + \y@ix=\y@viii \advance\y@ix-\h@lf\y@i \advance\y@ix-\h@lf\wd\tuptxtb@x + \hbox to\y@ix{\hss}% To start of right part. No-op unless bracket is short. +% +% Right part of bracket: +% + \y@iii2\h@lf\y@viii \y@iii\n@iii\y@iii \divide\y@iii\@c% + \y@iv=\y@viii \advance\y@iv\wd\ch@box% + \loop\ifdim\y@iv<\y@i\raise\y@iii\copy\ch@box% + \advance\y@iv\wd\ch@box \advance\y@iii\y@ii \repeat +% +% Finish off the right part: +% + \y@iii\y@i\advance\y@iii-\wd\ch@box\y@iii2\h@lf\y@iii\y@iii\n@iii\y@iii% + \y@ix=\y@i\advance\y@ix-\y@iv\hbox to\y@ix{\hss}% + \divide\y@iii\@c% + \raise\y@iii\copy\ch@box% +% + \raise\y@v\hbox{\mxsps\char\n@iv}}} +% +% y@i =complete length +% y@ii =height of linechar +% y@iii =current height +% y@iv =current width +% y@v =height of ending line +% y@vii =width of left segment of bracket +% y@viii=y@vii + width of opening +% y@ix =adjustment register +% +% n@iii=slope +% n@iv =(number of char for hooks) +% n@v =slope (number of linechar) + +\def\X@bkt#1#2#3{\y@v#2\noteskip \advance\y@v\wn@width + \inhgetn@i#1\relax \rlap{\kernm\p@ne\qn@width\v@rline\n@i\y@v{#3}}} + +\def\uptuplet{\n@iv22\X@bkt} +\def\downtuplet{\n@iv21\X@bkt} + +\makeatother +\endinput diff --git a/Master/texmf-dist/tex/generic/musixtex/underbracket.sty b/Master/texmf-dist/tex/generic/musixtex/underbracket.sty new file mode 100644 index 00000000000..994aee60ba1 --- /dev/null +++ b/Master/texmf-dist/tex/generic/musixtex/underbracket.sty @@ -0,0 +1,190 @@ +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +% +% LaTeX package underbracket +% +% draws brackets to underline text +% (especially, but not exclusively, syllables of song text) +% +% v1.2 by Bernd Jantzen +% For e-mail contact please use "ctan" before the "@"-sign +% and "bernd-jantzen.de" after it to form my address +% (not given in full clear text here to prevent spam). +% +% This package draws brackets to underline text (especially, +% but not exclusively, syllables of song text). +% It may be combined with musixtex/musixlyr, within the argument of +% the \setlyrics command or outside the music score. +% It provides several macros to define brackets which may e.g. start +% and end centered below syllables. +% Three length variables are provided to allow a fine adjustment +% of the bracket parameters. +% +% This material is subject to the LaTeX Project Public License. +% See http://www.ctan.org/tex-archive/help/Catalogue/licenses.lppl.html +% for the details of that license. +% +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +% +% Commands: +% +% \underbracket{TEXT} +% draws a bracket underlining TEXT +% the bracket starts below the left end of TEXT +% and stops below the right end of TEXT +% +% \Underbracket{TEXT} +% like \underbracket, but reserves no vertical space below the text +% +% \cunderbracket{LEFT}{TEXT}{RIGHT} +% draws a bracket underlining LEFTTEXTRIGHT +% the bracket starts centered below LEFT and stops centered below RIGHT +% +% \cUnderbracket{LEFT}{TEXT}{RIGHT} +% like cunderbracket, but reserves no vertical space below the text +% +% +% The commands \[c]underbracket do well in normal text which is aligned +% according to the baseline. The vertical space reserved below the text +% guarantees the distance to the next line. +% The commands \[c]Underbracket do well within the \setlyrics command of +% musixlyr where the text is vertically centered between the staves. Vertical +% space reserved below the text would shift the whole text upwards here. +% +% +% Adjustable length parameters: +% (change e.g. with \setlength{\underbracketheight}{4pt}) +% +% \underbracketwidth (default 0.3pt): +% linewidth of the bracket +% +% \underbracketheight (default 3pt): +% height of the bracket (length of the vertical lines) +% +% \underbracketsep (default 2pt): +% vertical distance between the lowest part of the text +% and the upper end of the bracket; +% also minimal vertical distance below the bracket +% +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + +\ProvidesPackage{underbracket}[2004/03/24 v1.2 LaTeX package underbracket] +\NeedsTeXFormat{LaTeX2e} + +% declare length variables +\newlength{\underbracketwidth} +\newlength{\underbracketheight} +\newlength{\underbracketsep} +\newlength{\underbracketlength} +\newlength{\underbracketdist} + +% need calc pages for adding lengts +\RequirePackage{calc} + +% \underbracket{TEXT} +% draws a bracket underlining TEXT +% the bracket starts below the left end of TEXT +% and stops below the right end of TEXT +% +\newcommand{\underbracket}[1]{% + \settodepth{\underbracketdist}{#1}% + \addtolength{\underbracketdist}{\underbracketsep+\underbracketheight}% + \mbox{% + \rule[-\underbracketdist-\underbracketsep]{0pt}{\underbracketsep}% + \makebox[0pt][l]{% + \rule[-\underbracketdist]{\underbracketwidth}{\underbracketheight}}% + \settowidth{\underbracketlength}{#1}% + \makebox[0pt][l]{% + \rule[-\underbracketdist]{\underbracketlength}{\underbracketwidth}}% + \mbox{#1}% + \makebox[0pt][r]{% + \rule[-\underbracketdist]{\underbracketwidth}{\underbracketheight}}% + }% +} + +% \Underbracket{TEXT} +% like \underbracket, but reserves no vertical space below the text +% +\newcommand{\Underbracket}[1]{% + \settodepth{\underbracketdist}{#1}% + \addtolength{\underbracketdist}{\underbracketsep+\underbracketheight}% + \mbox{% + \raisebox{0pt}[0pt][0pt]{\makebox[0pt][l]{% + \rule[-\underbracketdist]{\underbracketwidth}{\underbracketheight}}}% + \settowidth{\underbracketlength}{#1}% + \raisebox{0pt}[0pt][0pt]{\makebox[0pt][l]{% + \rule[-\underbracketdist]{\underbracketlength}{\underbracketwidth}}}% + \mbox{#1}% + \raisebox{0pt}[0pt][0pt]{\makebox[0pt][r]{% + \rule[-\underbracketdist]{\underbracketwidth}{\underbracketheight}}}% + }% +} + +% \cunderbracket{LEFT}{TEXT}{RIGHT} +% draws a bracket underlining LEFTTEXTRIGHT +% the bracket starts centered below LEFT and stops centered below RIGHT +% +\newcommand{\cunderbracket}[3]{% + \settodepth{\underbracketdist}{#1#2#3}% + \addtolength{\underbracketdist}{\underbracketsep+\underbracketheight}% + \mbox{% + \rule[-\underbracketdist-\underbracketsep]{0pt}{\underbracketsep}% + \settowidth{\underbracketlength}{#1}% + \makebox[0pt][l]{% + \hspace*{0.5\underbracketlength}% + \makebox[0pt]{% + \rule[-\underbracketdist]{\underbracketwidth}{\underbracketheight}}% + \rule[-\underbracketdist]{0.5\underbracketlength}{\underbracketwidth}}% + \mbox{#1}% + \settowidth{\underbracketlength}{#2}% + \makebox[0pt][l]{% + \rule[-\underbracketdist]{\underbracketlength}{\underbracketwidth}}% + \mbox{#2}% + \settowidth{\underbracketlength}{#3}% + \makebox[0pt][l]{% + \rule[-\underbracketdist]{0.5\underbracketlength}{\underbracketwidth}% + \makebox[0pt]{% + \rule[-\underbracketdist]{\underbracketwidth}{\underbracketheight}}}% + \mbox{#3}% + }% +} + +% \cUnderbracket{LEFT}{TEXT}{RIGHT} +% like cunderbracket, but reserves no vertical space below the text +% +\newcommand{\cUnderbracket}[3]{% + \settodepth{\underbracketdist}{#1#2#3}% + \addtolength{\underbracketdist}{\underbracketsep+\underbracketheight}% + \mbox{% + \settowidth{\underbracketlength}{#1}% + \raisebox{0pt}[0pt][0pt]{\makebox[0pt][l]{% + \hspace*{0.5\underbracketlength}% + \makebox[0pt]{% + \rule[-\underbracketdist]{\underbracketwidth}{\underbracketheight}}% + \rule[-\underbracketdist]{0.5\underbracketlength}{\underbracketwidth}}}% + \mbox{#1}% + \settowidth{\underbracketlength}{#2}% + \raisebox{0pt}[0pt][0pt]{\makebox[0pt][l]{% + \rule[-\underbracketdist]{\underbracketlength}{\underbracketwidth}}}% + \mbox{#2}% + \settowidth{\underbracketlength}{#3}% + \raisebox{0pt}[0pt][0pt]{\makebox[0pt][l]{% + \rule[-\underbracketdist]{0.5\underbracketlength}{\underbracketwidth}% + \makebox[0pt]{% + \rule[-\underbracketdist]{\underbracketwidth}{\underbracketheight}}}}% + \mbox{#3}% + }% +} + +% adjustable length parameters +% +% linewidth of the bracket +\setlength{\underbracketwidth}{0.3pt} +% +% height of the bracket (length of the vertical lines) +\setlength{\underbracketheight}{3pt} +% +% vertical distance between the lowest part of the text +% and the upper end of the bracket; +% also minimal vertical distance below the bracket +\setlength{\underbracketsep}{2pt} + diff --git a/Master/tlpkg/bin/tlpkg-ctan-check b/Master/tlpkg/bin/tlpkg-ctan-check index 76a24b15e0e..87a83671ca4 100755 --- a/Master/tlpkg/bin/tlpkg-ctan-check +++ b/Master/tlpkg/bin/tlpkg-ctan-check @@ -227,7 +227,7 @@ my @TLP_working = qw( moreverb movie15 mp3d mparhack mpman-ru ms msc msg mslapa mtgreek multenum multibbl multibib multicap multirow - multibox multido multiobjective munich muthesis mwcls mxd mxedruli + multibox multido multiobjective munich musixtex muthesis mwcls mxd mxedruli mylatexformat nag namespc natbib nath nature ncclatex ncctools needspace newcommand newfile newlfm newsletr newspaper newverbs nextpage diff --git a/Master/tlpkg/bin/tlpkginfo b/Master/tlpkg/bin/tlpkginfo index 877894d194d..12f098a3828 100755 --- a/Master/tlpkg/bin/tlpkginfo +++ b/Master/tlpkg/bin/tlpkginfo @@ -278,10 +278,6 @@ sub prepare $tds_path = "/home/ftp/tex/$pkg/$pkg.tds.zip"; # will be ignored below if it doesn't exist. - # ...and except for musixtex ... - } elsif ($pkg eq "musixtex") { - $tds_path = "$CTAN/macros/musixtex/musixtex-texmf.zip"; - # ...and except for amsfonts ... } elsif ($pkg eq "amsfonts") { # CTAN apparently doesn't want to put this in install: -- cgit v1.2.3