From e0cf1c6f0003d2d2504e786112d1f3132d7ab17a Mon Sep 17 00:00:00 2001
From: Karl Berry <karl@freefriends.org>
Date: Tue, 3 Mar 2020 23:20:40 +0000
Subject: pmx now that we have new binaries

git-svn-id: svn://tug.org/texlive/trunk@54056 c570f23f-e606-0410-a88d-b1316a301751
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+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+%
+% pmx294.tex 1/22/2020
+%
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+\documentclass[11pt]{article}
+%
+\let\reft\ref
+   \usepackage[dvips,colorlinks=true,linkcolor=blue]{hyperref}
+   \usepackage[dvips]{graphicx}
+   \usepackage{multicol}
+%
+\def\MusiXTeX{MusiX\TeX}
+\def\bs{{\tt\char'134}}
+\newcommand\PMXX{\textbf{PMX}}
+\newcommand\PMX{\PMXX~}
+\newcommand\IMA{\href{http://Icking-Music-Archive.org}{\underline{Icking Music Archive}}}
+%
+% Use \bfx for program names only.  Use \bf for single embedded letters 
+%
+\font\bfx=cmb10 scaled\magstephalf
+\font\bfi=cmbxti10 scaled\magstephalf
+\font\specfig=cmrj
+\setcounter{secnumdepth}3
+\setcounter{tocdepth}3
+\def\Bslash{\tt\char'134}
+\def\|{{\tt\char'174}}
+\def\LBR{{\tt\char'173}}
+\def\RBR{{\tt\char'175}}
+\textheight= 9.5in \voffset-.8in%
+\textwidth= 6.5in \hoffset-1.0in
+\def\newfrom{2.59}  % changed every now and then 
+\def\NEW#1{\ifdim#1 pt<\newfrom pt\else% 
+\marginpar{\fbox{#1}}\fi}
+
+\hoffset-54pt
+
+%\let\rulet\rule\def\rule#1#2{\if#1<#2\rulet{.05in}{#2}\else\rulet{#1}{.05in}\fi} 
+
+\begin{document}
+
+\raggedright
+\parindent24pt
+
+\title{
+  \Huge\bf
+  PMX~--~a Preprocessor for \MusiXTeX{}\\
+  \null\vskip-15pt
+  \Large\sl
+  Version 2.94~--~22 January 2020\\ 
+  \author{\Large\rm Don \sc Simons\\
+  \large\sl
+  Dr. Don's PC and Harpsichord Emporium\\
+  \normalsize\sl
+  Redondo Beach, California, USA.\\
+% To make the bitmapped eps: (1) TeX file with cmtt scaled 2500,
+% (2) dvips -> gsview -> pdf.
+% (3) gwin32 -sDEVICE=pnggray -sOutputFile=file.png -r100 -dEPSCrop -dbatch -q 
+%    -dNOPAUSE -dTextAlphaBits=4 file.eps -c quit
+% (4) file.png -> GIMP (crop out blank space) -> save as .eps.
+%
+  \includegraphics[scale=0.4]{file600.eps}}}
+
+\date{}
+
+\maketitle
+
+\section*{Preface}
+Compared to version 2.84, aside from bug fixes documented in the
+opening comments in the source code, \PMX version 2.94 
+enables blank gaps at the end or in the middle of a system (\ref{Gaps}),
+allows virtually 
+arbitrary staff jumping beams with multiplicity changes at the jump (\ref{Jumps}), 
+allows 
+changes to the vertical position of the number for a multibar rest (\ref{MultibarRest}),
+and has more flexibility in setting stem lengths (\ref{Stemlength}).
+
+\setcounter{page}1
+% Need extra line to push last line of TOC to next page
+~~
+\tableofcontents
+%\setcounter{secnumdepth}1
+\pagestyle{headings}
+
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+\def\boxitsep{10pt}
+\let\hrt\hrule\def\hrule{\hrt height2pt}
+\let\vrt\vrule\def\vrule{\vrt width2pt}
+\def\boxit#1{\vbox{\hrule\hbox{\vrule\kern\boxitsep\vbox{%
+\kern\boxitsep\hbox{#1}\kern\boxitsep}\kern\boxitsep\vrule}\hrule}}
+\font\ded=cmssdc10 scaled \magstep3 
+\bigskip
+\setbox4=\vbox{
+%  \hsize3in\noindent\strut 
+  \hsize4in\noindent\strut 
+     \centerline{\ded Dedication}
+\vskip 3pt
+The \MusiXTeX~community was stunned by the sudden death of Werner Icking on 
+February 8, 2001.  He had been a benevolent patriarch, touching many 
+of us not only
+with his technical savvy and gentle guidance, but also his genuine kindness 
+and generosity.  His spirit runs deep through all of \PMX.  His encouragement
+fueled its development from its very beginning.  Many 
+enhancements have been his proposals, including one he made on what
+turned out to be his last day.  Werner, my friend, I dedicate this work to
+you and your memory.  
+}
+\vfill
+$$\boxit{\box4}$$
+\let\hrule\hrt\let\vrule\vrt
+\vfill
+\eject
+
+\section{Introduction}
+%\setcounter{secnumdepth}1
+
+        \PMX is a preprocessor for \MusiXTeX{}.  Before using it you should 
+have installed \MusiXTeX~Version 1.21 \NEW{2.71} or higher, and 
+any available version of \TeX~that includes e-\TeX.  The goal of \PMX is to 
+facilitate the efficient typesetting of scores and parts
+that have an almost professional appearance.  It can do {\it all} the work
+involved in setting up {\tt \bs notes-\bs enotes} groupings, 
+selecting groups of
+notes to be beamed, defining beam heights and slopes, spreading the
+entire piece evenly over specified numbers of systems and pages, and inserting
+extra spaces where needed to make room for accidentals, flags, dots,
+and new clefs. The input language for \PMX is much simpler than
+\MusiXTeX.  You can enter note values and rests from 64ths to double 
+whole notes ({\it breves}), ornaments, slurs, and limited text strings.  Every
+voice in every bar must have exactly the correct number of beats in
+the current meter, but you may change the meter at the beginning of any
+measure, with or without printing the new time signature.  Before making a 
+\TeX{} file, \PMX checks these timings and other aspects of the input.
+\PMX has special features for dealing with baroque chamber music, including
+the ability
+to notate figured bass below the bottom staff in each system.  If \PMX hasn't
+yet learned to do something you want to do, you can usually work around the 
+problem by inserting literal \TeX\ strings in the \PMX input file.
+
+     You can automatically create parts from a score using {\bfx scor2prt}.  
+This auxiliary program generates a set of {\tt .pmx} input files, one for 
+each part, from a single {\tt .pmx} file for the score.  
+You can control the appearance of the 
+parts with special commands in the main file, thereby making it  
+possible to include within a single input file all the information 
+that defines the score and the individual parts.
+
+The basic \PMX
+distribution as of this version of the manual is 
+\href{http://icking-music-archive.org/software/pmx/pmx294.zip}
+{\underline{\tt pmx294.zip}}.\NEW{2.94} It 
+contains the FORTRAN sources, binaries that will run in a DOS
+window on a PC with WINDOWS95 or higher, manuals for usage and for installation 
+in DOS/Windows, and example typesetting files. Alternatively, the 
+\href{http://www.icking-music-archive.org/software/htdocs/Getting_Started_Four_Scenar.html}
+{\underline{software section}} of the Werner Icking Music Archive (WIMA) has instructions
+for acquiring and installing \MusiXTeX~and \PMX on various platforms
+(Windows, Mac-OSX, Unix-like systems) including using automated procedures from
+several external \TeX~distribution sites.
+The packages from those other sites will 
+all eventually incorporate all the upgrades in {\tt pmx294.zip} but will take 
+varying amounts of time to do so. \PMX is often upgraded; the most current version will
+always be available directly from the ``News'' paragraph
+\href{http://www.icking-music-archive.org/software/htdocs/htdocs.html}{\underline{here}}. 
+
+\subsection{Conventions for This Manual}
+
+	Hey, this is boring stuff, but if you take a minute to understand
+the typographic conventions and a little jargon, 
+it may avoid some confusion down the road.
+
+	The typewriter typeface always indicates verbatim text as it would
+be input to a computer.  This includes file names, \MusiXTeX{} tokens, and 
+\PMX commands, e.g., {\tt barsant.pmx, \bs internote, c44}. 
+
+	Bold is used for program names (e.g., {\bfx pmxab}), or when applied
+to a single letter, to relate a \PMX command to its meaning (e.g., ``{\tt e}
+signifies a l{\bf e}ft shift'').
+
+        When\NEW{2.5}~viewing the PDF version of this document on a computer 
+screen, clickable internal hyperlinks are colored blue, and clickable external 
+links are underlined and colored cyan. 
+
+        Italics may mean several different things depending on the context:
+simple emphasis, or the first appearance of {\it jargon} 
+(buzz-words that need to be explicitly defined), or finally  
+to represent input variables for which some verbatim text would need to be 
+substituted.  In the latter case the variable will be surrounded by
+square brackets, e.g., [{\it basename}], but the brackets are not to be 
+included with the substituted text.
+
+        Speaking of jargon, there are several special words that have very 
+specific meanings here: A {\it staff} is one set of 5 lines (plural 
+{\it staves}), a {\it system} is a group of staves, and {\it voice} refers to 
+one of the one or two 
+simultaneous allowable sequences of notes in a staff. Note that this  
+is a change \NEW{2.5}from versions prior to 2.5, where {\it voice} was used 
+interchangeably with staff.
+
+A \PMX {\it command} is a string of characters with no spaces between them. 
+The first character determines the type of command. Any other characters 
+are parameters that may be either required or optional. Sometimes we loosely 
+use the word {\it command} to refer just to the initial character. 
+
+\subsection{Setup}
+
+	Here we briefly describe the setup for the Windows OS,
+assuming \TeX\ and \MusiXTeX\ have already been installed. After compiling the
+FORTRAN source code, users of other OS's 
+may either adapt these instructions as needed or use one of the other setup 
+methods referenced earlier. 
+
+After decompressing the distribution file {\tt pmx276.zip}, 
+you should have these 
+files: \NEW{2.76} {\tt pmx276.for}, {\tt scor2prt.for}, two 
+Windows executables {\tt pmxab.exe} and {\tt scor2prt.exe}, several sample 
+{\tt .pmx} files,
+{\tt pmx.tex}, {\tt ref276.tex} (\TeX\ source for a command summary),
+{\tt pmx276.tex }(\TeX\ source for this file), 
+PDF images of the latter two files, {\tt pmx25-276.html} showing 
+changes from version 2.50 to 2.76, and {\tt install\_run\_PMX271.pdf} which gives more 
+details about installing and running on different platforms.
+
+%If necessary, compile the FORTRAN programs.
+%I have tried to keep the source code as generic as possible, but minor 
+%modifications may be needed for FORTRAN-to-C translation and/or other
+%compilers.  
+
+	Once you have assembled a full set of files, put the executables 
+somewhere in the path or in your working directory, {\tt pmx.tex} into the 
+texinput directory, the sample {\tt *.pmx} files in your working 
+directory (the one from which you will run \PMXX), and the source code and 
+document files wherevever you wish.
+
+\subsection{Basic Operation, by Example}
+
+Edit the 15th line of {\tt barsant.pmx} to contain the path to the 
+directory where you want \PMX to write the {\tt .tex} file.  For example, 
+if you want this to be the same as the working directory, type {\tt .\bs}~for Windows, 
+or {\tt ./} for UNIX.   
+
+If you haven't done so, open a command window and navigate to the 
+folder containing {\tt barsant.pmx}. Execute \PMX by typing 
+{\tt pmxab barsant} . Alternatively, you may 
+just type {\tt pmxab <return>} and you will be prompted
+for a jobname, which in this case is just {\tt barsant} .  
+{\bfx pmxab} will always generate two files in the working 
+directory: {\tt barsant.pml}
+is a log file, and {\tt pmxaerr.dat} contains a single integer, 0 if 
+the run was successful, otherwise the line number in the {\tt .pmx} file of the 
+fatal error (useful for batch processing).   Also, on successful completion, 
+{\tt barsant.tex} will be placed in the path specified in the setup.  
+
+Now you are right where you would be after 
+entering, debugging, and rough-editing the {\tt .tex} file manually.  To see 
+the results, process {\tt barsant.tex} just as you would for any \MusiXTeX{} 
+file, running all three passes, and view the {\tt .dvi} file, or go on and run 
+{\bf dvips} to create a postscript file and view that with a postscript viewer
+such as {\bf GSview}.  To make 
+separate parts, run {\bfx scor2prt} by typing {\tt scor2prt barsant} .\NEW{2.0} 
+The program will create a new {\tt .pmx} file for each instrument, in this
+case {\tt barsant1.pmx} and {\tt barsant2.pmx}.
+You may then process these 
+files like you did the original one to create separate parts.
+
+\section{Elements of PMX}
+\def\l@subsection{\@dottedtocline{2}{5em}{20em}}%original 2 3.8 3.2
+%\setcounter{secnumdepth}2
+
+\subsection{Setup Data in the Input File} \label{setupdata}
+
+	To see how the input file is put together, we'll look at 
+{\tt barsant.pmx}.  For reference, here are are the first few lines:  
+\pagebreak
+\begin{verbatim}
+%----------------%
+%
+%  barsant.pmx   Revised 29 June 2002
+% 
+%----------------%
+%
+% nv,noinst,mtrnuml,mtrdenl,mtrnmp,mtrdnp,xmtrnum0,isig,
+  2    2      4       4        0      6      0       0 
+%
+% npages,nsyst,musicsize,fracindent
+    1      7     20        0.07
+Basso
+Recorder
+bt
+./
+\end{verbatim}
+The lines 
+with {\tt \%} in column 1 are comments.  
+Some special handling of comment lines will be 
+discussed in the section on creating parts from a score in  
+section~\ref{scor2prt}.
+   
+The rest of the lines in this example are the {\it setup data}.  
+Starting in the first non-comment line above,   
+
+{\tt nv} (integer$\leq$24) \NEW{2.6} is the total number of 
+sta{\bf v}es per system.  Each staff may contain either one or two voices,
+but the total number of voices at any one time may not exceed 24.
+
+{\tt noinst} (integer$\leq${\tt nv}) is number of {\it instruments}.  Each 
+instrument has a unique name (see below), and any instrument
+with more than one staff will have its staves joined with a curly bracket. 
+Usually there is only one staff per instrument and {\tt noinst=nv}.  There
+are two ways to assign more than one staff to one or more instruments. 
+If only the first (lowest) instrument has more than one staff, such as in
+a score for piano and a solo instrument, simply make
+{\tt noinst$<$nv} and any difference will show up in instrument 1, the bottom
+one in each system.  
+\NEW{1.4} For a
+more general distribution of staves among instruments, 
+put a minus sign in front of {\tt noinst},
+and follow {\tt noinst} with the number of staves in each  instrument  in
+succession, separated by spaces.  These numbers must add up to {\tt nv} or your
+computer will explode.  For a typical example of keyboard music, see 
+{\tt mwalmnd.pmx}, in which {\tt nv=2} and {\tt noinst=1}, producing two 
+staves per system with a curly bracket at the left.  
+
+The number of instruments can be changed as well after the start of the 
+score, but only to a number less than the original one.  See 
+section~\ref{movbrk} to learn how to start with a smaller
+number of instruments and later increase it.  
+
+{\tt mtrnuml} is the {\it logical} numerator of the meter, or the number of 
+beats per measure; {\tt mtrdenl} the denominator.  Please note the special
+considerations in the paragraph after the next. If {\tt mtrnuml} is 
+divisible by 2 or 3, beam grouping will be automatic; otherwise you will
+have to force all beams using {\tt [}$\dots${\tt ]} as described in 
+section~\ref{beams}.
+
+{\tt mtrnmp} and {\tt mtrdnp} are the {\it printed} numerator and denominator.  
+These determine the appearance of the meter in the printed output but 
+have no effect on the internal timing analysis.  If {\tt mtrnmp$>$0} then it 
+and {\tt mtrdnp} are printed literally as the numerator and denominator 
+of the time signature.  Please note the special considerations in the following 
+paragraph. If 
+{\tt mtrnmp$<$0}, then the numerator is abs({\tt mtrnmp}) and the 
+entire time signature will be printed with a vertical slash through 
+it.  If {\tt mtrnmp}=0, then {\tt mtrdnp} determines the printed meter 
+as follows: 
+
+\medskip
+
+\begin{tabular}{ll}
+\tt 0 & No meter is printed ({\it blind} meter change)\\
+\tt 1, 2, 3, or 4 & A single digit, between the 2nd and 4th lines\\
+\tt 5 &  Cut time (alla breve)\\
+\tt 6 &  Common time\\
+\tt 7 &  Numeral 3 with a vertical slash\\
+\end{tabular}
+
+\medskip
+
+There are special considerations for n/16 and n/1 time signatures (where the 
+latter "1" normally means a whole note).  To get
+n/1 time, use {\tt 0} (zero) for {\tt mtrdenl} and {\tt 1} for {\tt mtrdnp}.  To 
+remember this rule, recall that the printed denominator is taken literally,
+while the logical denominator can always be represented
+by the same single digit used for the corresponding time value when entering 
+ordinary notes (see section~\ref{notes}). So
+for n/16 time, use {\tt 1} for {\tt mtrdenl} and {\tt 16} for {\tt mtrdnp}. 
+
+If the first bar is a partial bar containing a pickup, {\tt xmtrnum0} is 
+the number of beats in it; otherwise set it to 0.  It need not be an 
+integer.  The first bar is the {\it only} bar that can have a different 
+number of beats than the current value of {\tt mtrnuml} (Later we'll see how 
+to change the meter).
+
+{\tt isig} is the key signature, positive integer for sharps, negative for 
+flats.
+
+If {\tt npages}$>$0, it is the number of pages and {\tt nsyst} is the total 
+number of systems in the entire piece.  \PMX will spread the entire 
+piece horizontally over this number of systems, and vertically over 
+{\tt npages} pages.  For proper vertical spacing there should be from 
+about 9 to 16 staves per page.  If you specify too many staves for the number
+of pages, one or more staves may spill over onto an extra sheet.  If this 
+happens it will only become obvious when you preview the {\tt .dvi} file.  
+One solution is to use the global option {\tt Ae} 
+(see section~\ref{AeDirective}); another is to increase {\tt npages} or 
+decrease {\tt nsyst}.
+
+If {\tt npages} is set to 0, then {\tt nsyst} is interpreted as the average 
+number of measures per system.  This is useful while building up a 
+file a little at a time. \PMX will calculate how many systems to use, and
+spread them over an appropriate number of pages.
+
+{\tt musicsize} is 16, 20, 24, or 29, the height of a staff in points, with
+20 considered the default\NEW{2.6}.
+
+{\tt fracindent} is the indentation of the first system from the left 
+margin, expressed as a decimal fraction of the total line width.
+
+Next come the names of the {\tt noinst} instruments as you want them to 
+appear within the indentation in the first system, one per line, 
+starting with the {\it bottom} instrument.  If you've set {\tt fracindent}=0 
+and don't 
+want instrument names to appear, you must still leave {\tt noinst}
+blank lines here.  Next comes a single string of {\tt nv} 
+letters or numbers for the clefs, again starting with the bottom staff: 
+\label{ClefCodes}
+{\tt b,~r,~n,~a,~m,~s,~t,~f,~8} or digits 0-8 \NEW{2.71} respectively for {\bf b}ass, 
+ba{\bf r}itone, te{\bf n}or, {\bf a}lto, {\bf m}ezzo-soprano, {\bf s}oprano, 
+{\bf t}reble,\NEW{2.2} {\bf F}rench violin clef, or octave treble clef.   
+The last line of setup data contains the path to the directory 
+where you want the {\tt tex} file to go when \PMX creates it.  The one 
+in {\tt barsant.pmx}~, 
+{\tt ./}~, represents the current directory in UNIX and some versions of DOS.  
+The path must terminate with {\tt /} or {\tt \bs}~.
+
+\subsection{Structure of the Body of the Input File} \label{structure}
+
+	The rest of the {\tt .pmx} file is the {\it body} of the input.  
+The basic unit of input from here on is called an {\it input block} or 
+just {\it block}, each one representing an integral number of bars.  If there
+is a pickup bar defined by {\tt xmtrnum0} $>$ 0, 
+it must be included in the first block {\it together with at least one full bar}. 
+If you wish to put a pickup in a separate block, for example at the start
+of a new movement, set the initial logical
+meter to fit the pickup bar, then after the pickup bar do a blind meter change
+as described in section~\ref{MeterChange}).
+
+There will usually be 
+4 to 8 bars in a block.  15 is the most allowed.  It is good practice 
+to separate the blocks with comment lines that state which bars are 
+represented, as I've done in {\tt barsant.pmx}.  
+It is also advisable, although not required, to separate the bars with
+the command {\tt |}. Its main functions 
+are to provide visual separation in the input file, and to help isolate input
+errors: if you put one anywhere except 
+at a bar-end, {\bfx pmxab} will stop and show you where it detected the 
+timing error. Otherwise, with several minor exceptions,
+{\tt |} has no effect.  
+
+At the start of each block there may be a few special commands 
+(described starting in section~\ref{pmxcmds}).  
+Next come the input data for the selected number 
+of bars of the first (lowest in the system) voice in the first staff, followed by 
+either {\tt /} to move to the next staff, or {\tt //} to move to the next voice 
+on the same staff.  Each new voice must start on a new line 
+in the input file, i.e., there should be no further data on the same input line
+after {\tt /} or {\tt // }. 
+   Continue entering other voices, each with 
+{\it exactly} the same number of bars as the first, 
+terminated by {\tt /} or {\tt //}, until
+ the last (topmost in the system) ends with a {\tt /} and the block is 
+finished.  Within 
+a block every voice must have the same number of bars, but every block 
+needn't have the same number of bars as other blocks.  The number of 
+voices in a staff can only be 1 or 2, and cannot change within a block, but
+may vary from block to block. 
+
+	The data for each voice in each staff are a sequence of commands 
+containing one or more adjacent characters.  Commands are separated from each
+other by spaces.  The line-terminating commands {\tt /} and {\tt //} should also
+naturally be preceded by a space.
+
+\subsubsection{Notes} \label{notes}
+
+	Commands for notes always start with a lower-case letter and, as 
+with all commands, end at 
+the first space. The first letter is the note name ({\tt a-g}).  The 
+rest of the characters can be in any order with only a few 
+restrictions.  The first digit defines the {\it basic time value} of the 
+note: {\tt 9, 0, 2, 4, 8, 1, 3} or {\tt 6} respectively for double-whole,
+whole, half, quarter, 
+eighth, sixteenth, thirty-second, and sixty-fourth notes.  The second 
+digit sets the octave (for reference, octave 4 runs from middle C to 
+the B above).  Certain letters may appear after the initial one: {\tt d} 
+for {\bf d}ot; {\tt dd} for \NEW{1.4} double dot; 
+{\tt f, n,} or {\tt s} for {\bf f}lat, {\bf n}atural, 
+or {\bf s}harp (repeat the letter  
+immediately for a double); {\tt u} or {\tt l}, which  force the stem 
+direction of any un-beamed note; {\tt e} or {\tt r} to shift the notehead 
+l{\bf e}ft 
+or {\bf r}ight by its own width; {\tt a} (for {\bf a}lone) which inhibits 
+beaming for this note (or, if the first note of an xtuplet, for the
+entire xtuplet); and \NEW{2.80}{\tt T} to insert a single-note {\it tremolo} 
+on the stem (not to be confused with a 2-note tremolo, discussed later in 
+section~\ref{TwoNoteT}). 
+The {\tt T} may be followed by a single digit {\tt 1}, {\tt 2}, or {\tt 3} 
+to indicate the
+number of slashes in the tremolo symbol; {\tt 1} is the default if no digit
+is entered. \NEW{2.4}A single accidental may be immediately 
+followed by {\tt c} to
+make it {\bf c}autionary, i.e., surround it with parentheses.
+Alternatively, it may also be followed by {\tt i} to 
+suppress typesetting \NEW{2.3} but still have 
+the M{\bf I}DI processor honor the accidental.  Other characters allowed in note 
+commands are {\tt +}, {\tt -}, {\tt .}(period), {\tt ,}(comma), {\tt x}, and 
+several special characters following {\tt x}, all to be described below.  
+Between the first letter and the end or {\tt x} if present,
+non-digits can be in any order with respect to each other and to the digits, 
+with minor exceptions involving shifting dots and accidentals.  
+
+To move
+a dot from its default location, simply follow the {\tt d}
+with one or two decimal numbers, each predeced by 
+{\tt +} or {\tt -}.  
+The first is the 
+vertical shift in \bs{\tt internote}s, the second, the horizontal shift in 
+notehead widths.  
+
+\label{AccidentalPosition}
+Accidentals \NEW{1.4} can be shifted too.  One way is to enter 
+{\tt +} or {\tt -} right after the accidental character, 
+then an integer 
+for the vertical shift, then another {\tt +} or {\tt -} followed by the 
+horizontal shift in notehead widths.  If you use this method, you {\it must}
+enter both numbers.  Or, to just shift horizontally, use
+{\tt <} or {\tt >} followed by the shift in notehead widths.  When shifting
+a sharp to avoid another sharp, a left shift of 0.85 is usually best.  When 
+shifting a flat to avoid a flat above it, a left shift of 0.3 is suggested.
+In chords (see section~\ref{chords}), if all the notes are in the same \NEW{2.4}voice, 
+\PMX will automatically shift accidentals if required. This will be disabled 
+for the current chord 
+if any user-defined accidental shifts are entered, unless {\tt A} is entered 
+along with the shift, e.g., {\tt zcsA<.5} . In that case the user-defined 
+shift will be added to the PMX-computed one. 
+\NEW{2.4} Another option that affects accidental positioning in 
+chords is {\tt Ao},
+entered in the main note command of a chord.  It will force the accidentals 
+in that chord will be posted in the order
+they come in the source file (starting with the main note), each one as far
+to the right as it will go without crashing into a notehead, stem, or
+another accidental. 
+
+
+  Dots and accidentals always have to be entered when and if a note 
+calls for them. i.e., they are never carried over from previous notes.  
+On the other hand, the octave only needs to be entered if the note is 
+more than a fourth away from the most recent note in the same voice.  
+This feature lets you go for long stretches in a voice before needing 
+to enter the octave.  An alternate way to jump more than a fourth but 
+less than a twelfth is to type {\tt +} or {\tt -}.  In other words, these 
+mean to put the note an octave higher or lower than it 
+otherwise would have gone.  Two {\tt +}'s will raise the pitch two octaves 
+above what it otherwise would have been, and so forth.  
+The basic time 
+value is also carried over from the past if it is not re-entered,   
+except for the first note or rest in each voice in an input block, 
+for which it {\it must} be entered.   
+Therefore, when the melody jumps more than a 4th, using {\tt +} or {\tt -} is 
+often more convenient than using a digit.  This is because in order to 
+use the digit, you must first enter the basic time value whether it 
+changes or not.  
+
+	For example {\tt c44 d e f g a b c c0-} is an ascending quarter-note  
+scale starting on middle C, followed by an octave jump down to a 
+whole note middle C.  
+
+	Explicit octave \NEW{2.1} numbers can be combined with one or
+more {\tt +} or {\tt -} .  In earlier versions, {\tt +} or {\tt -} was
+ignored if an octave number was specified.  This is a slight backward 
+incompatibility; \PMX prints a warning when it happens.
+
+\label{Stemlength}Stem length \NEW{2.73} can be {\bf s}hortened or {\bf l}engthened by {\it x} 
+\bs{\tt internote} with the options {\tt S}{\it x} or {\tt L}{\it x}~. 
+{\it x} is restricted to the range (0.5,4.0) for shortening and 0.5 to 27.5 
+for lengthening.
+The shortening can be made ``sticky'' by following the number {\it x} with 
+{\tt :} . Then every note's stem in the voice will be shortened until 
+one is encountered with the option {\tt S:} . By lengthening a stem enough 
+to span to the next staff and connect with notes there, unflagged staff-spanning 
+chords can be constructed. See section \ref{chords}~for further details 
+about staff-spanning chords.
+
+The first note command in each voice in a block must 
+contain at a minimum the note name or {\tt r} for a rest (see below), 
+and a basic time value.  For notes, it is good practice and can simplify 
+editing
+if in addition an explicit octave is set here.  However if it is not, 
+\PMX will make some assumptions.  At \NEW{2.4} the start of the first 
+input block the pitch will be set as if the prior note were middle C.
+In later blocks \PMX will use the
+obvious inheritance rules from the end of the prior block.  
+However, if the number of voices in a staff  
+has changed from the prior block, it is safest to reset the octave at the
+start of a new block.  Duration is never inherited and must be set at the
+start of each input block.   
+
+	Dots can be a little tricky, because even though they affect the 
+actual time value, they don't affect the basic time value, and it is only the
+latter that is ``sticky".  Therefore, if a note is to be dotted, you always have to 
+enter a {\tt d} (or a period, see next paragraph) somewhere within the 
+command, after 
+the note name, even if the actual time value and octave are the same 
+as the prior note.  But the {\it basic} time value need not be re-entered if 
+it hasn't changed (unless the note is more than a fourth from the 
+prior note {\it and} you have for some strange reason elected to indicate the 
+octave with a number rather than {\tt +} or {\tt -} ). So for example, 
+consecutive dotted half notes, each within a fourth of the previous 
+one, could be most cleanly entered as {\tt cd24 ed gd ed}, whereas {\tt cd24 e}
+would represent a dotted half note followed by a plain half note 
+(since the basic time value---as defined by the first digit---was a half 
+note all along).
+
+	There are two special shortcut rhythmic notations.  For normal dotted
+rhythms (3:1 ratio), if you    
+include a period ({\tt .}) in the note command, it will 
+(a) assign a dot to the note just entered, (b) terminate that note, 
+(c) prepare to 
+receive the next note name {\it without any space}, and (d)~automatically 
+assign a time value to the second note equal to one-third of the first one.
+No time value may be entered for the second note, but octave and accidental
+data may.  Ornaments and slurs (see below) following this command will apply 
+to the second member. If you need to follow the main note 
+with some modifying 
+\NEW{2.3} 
+command, you can still use the shortcut ({\tt .}) after that command and a
+space. 
+The main advantage of this shortcut comes if you want to 
+follow one dotted pair with another of the same rhythm; then you 
+needn't enter any explicit time value for {\it either} member of the second pair.  
+This is possible because after using the shortcut,
+the basic (inheritable) duration is set to that of the
+{\it first} note in the pair, without the dot.
+
+     For paired notes with 2:1 rhythmic ratios, the character {\tt ,}~(comma)
+behaves similarly to the {\tt .}~(period) for 3:1 rhythms.
+
+	Xtuplets, or groups of notes with their stems connected,
+can have from 2 to 24 notes or\NEW{1.4} rests. Normally they
+all have the same duration, but there are several options---described
+below---to change this. The command for the first note of an xtuplet begins 
+exactly like a 
+note or rest command, with the name of the first note in the xtuplet, or
+{\tt r} if it starts with a {\bf r}est (see subsection below on rests), 
+and an optional time value.  
+However, the actual time value (including a dot if present and a basic 
+duration that may have been inherited from the prior note) now represents the 
+{\it total} duration of the xtuplet.  Next (with no space, as usual) comes 
+{\tt x} followed by either a one- or two-digit integer for the number of notes in 
+the xtuplet, or \NEW{2.80}{\tt T} to initiate a 2-note tremolo, to be further
+discussed below. The only options allowed immediately following the number are 
+{\tt d} and {\tt n} . \NEW{2.4}{\tt d} signifies that the {\it first} note 
+of the xtuplet should have a dot and the second, and extra flag.  
+{\tt n} controls the printing of the {\bf n}umber and bracket. 
+If {\tt n} is followed by a blank, then no number will be
+printed. On the other hand, 
+an \NEW{2.3}{\it unsigned} integer here is taken as a substitute number to
+be printed instead of the natural one.  
+If one or two {\it signed} decimal numbers follow {\tt n} 
+(each starting with {\tt +} or {\tt -}), the first 
+is a vertical shift in {\tt \bs internote}s, and the second, a horizontal shift 
+in notehead widths. Another suboption to {\tt n} is {\tt f}, 
+to {\bf f}lip the number vertically from its default position. A \NEW{2.5}final 
+suboption to {\tt n} is {\tt s} followed by a signed integer. It applies only 
+to non-beamed xtuplets, for which it tweaks the slope of the bracket above or 
+below the xtuplet. For non-beamed xtuplets, you can further change the 
+appearance of the bracket and number as explain in section~\ref{ATDirective}.
+
+The second through last notes of the xtuplet are each then 
+represented by a separate command containing a subset of the characters 
+permitted for ordinary notes or rests: note name or {\tt r} (the only required 
+character), accidental, and octave change character ({\tt +} or {\tt -}). 
+\NEW{1.4} The octave may be given explicitly instead, and any integer will be 
+interpreted as such, as no numerical time value is permitted.
+
+To double\NEW{2.3} the duration of any note in an xtuplet, add the 
+character {\tt D} to the command for that note. This will decrease the expected
+number of notes in the xtuplet by one.  To add a dot to the doubled note
+(as Bach sometimes did), use {\tt F} instead of {\tt D}.  
+\NEW{2.4}To add a dot to one  
+note and an extra flag to the next, include {\tt d} in the note command,
+{\it after} the {\tt x} if it's the first note of the xtuplet as noted above.   
+
+As an example, an ascending quarter-note triplet scale would be 
+notated\hfil\break {\tt~c44x3~d~e~f4x3~g~a~b4x3~c~d~\dots} 
+
+\subsubsection{2-note tremolos}\label{TwoNoteT}
+
+A 2-note tremolo \NEW{2.80}is a special case of an xtuplet. 
+It represent a rapid alternation between two notes. 
+It is notated with a pair of 
+notes, either beamed or unbeamed, with the possible addition of from one to three 
+indented, disconnected beams between the two note stems. 
+Like an ordinary
+xtuplet, it begins with a note name, optional duration and octave, then
+the character {\tt x}. The duration applies to the total time value of the 
+two notes, is currently limited to either a half note ({\tt 2}), 
+quarter ({\tt 4}), or eighth ({\tt 8}), and may be dotted by including~{\tt d}~after
+the duration digit. 
+Next comes a {\tt T}. This is optionally followed by one or two
+integers from 0 to 3. The first indicates the number of ordinary beams 
+connecting the two notes; the second, the number of indented beams.
+
+The only other option allowed on the first note is to move the dot. After 
+the~{\tt d}~enter one or two signed integers, where the first 
+is a vertical shift in {\tt \bs internote}s, and the second, a horizontal shift 
+in notehead widths. If the note has both a moved dot and a digit for an explicit octave, 
+the~{\tt d} must follow the octave number
+
+No other options are allowed, and some options are prohibited, such as zero
+ordinary beams on anything except a quarter or dotted quarter tremolo. If no 
+integers are entered after the~{\tt T}, defaults are assigned: (3,0) for a half, 
+(0,3) for a quarter, and (1,2) for an eighth.  
+
+After a space, the second note of the tremolo is entered. If the total duration 
+is a half or dotted half, the 
+noteheads will be open. For a whole note tremolo, two consecutive half note 
+tremolos should be used. As with ordinary xtuplets, the horizontal spacing of the 
+notes will always be the
+correct value for notes with half the duration of the total. If the tremolo duration
+is dotted, a dot will appear by default on the second note, and no~{\tt d}~should
+be entered there unless the dot needs to be moved, in which case the syntax is as
+described above for the first note.
+
+Either\NEW{2.84} or both members of the tremolo may include chordal notes,
+using the normal {\tt z} notation described in section~\ref{chords}. If the 
+duration is dotted, dots will appear by default on chord notes, and again 
+no~{\tt d}~should be entered there unless the dot needs to be moved.
+If the tremolo is beamed, the height and angle of the beam may be adjusted
+after making it a forced beam as described in section~\ref{beams}. 
+
+Some examples of 2-note tremolos are shown below. When two versions are shown 
+for a given duration, 
+the first is the default. The following \PMX code generates the example.
+
+~
+
+{\tt f24xT a fxT a | fxT20 a fxT20 a /}
+
+{\tt L2 fd24xT zefd-2+1 zcd-2+1 a r4 | f24xT a f2xT20 a /}
+
+{\tt L3 fd44xT a r8 f44xT a  r4 | f44xT02 a fd8xT a r1 f8xT a r4 f8xT11 a /}
+
+~
+
+\includegraphics[scale=1.0]{tremxmpl4.eps}
+
+\subsubsection{Rests}
+
+	The command for a rest starts with {\tt r}.  
+Then for a normal rest, in either order come a digit for the basic time value 
+(using same codes as for notes, optional if unchanged from previous value),  
+a {\tt d} if the rest is dotted, and a second {\tt d} if double dotted.
+\NEW{2.0} The basic time value of a rest 
+affects future notes and rests the same as if it had come from a note, 
+i.e., it applies until another value is entered with a subsequent note 
+or rest in the same voice.  The command {\tt rp} represents a 
+full-bar rest notated with a {\bfi p}{\it ause} character (whole rest) 
+regardless of 
+the time signature; in this case no other duration information is 
+needed or allowed.  {\tt rb}, followed if necessary by a duration 
+specifier, denotes a {\bfi b}{\it lank} rest, one that occupies space and time 
+but is invisible. This is most often used when there are
+two voices in a staff and one drops out for some of the duration
+of the current input block.  (See {\tt mwalmnd.pmx} for examples).  
+\NEW{1.4} The 
+option {\tt o} (for {\bf o}ff-center) suppresses centering a full bar rest.  If
+you don't exercise this option, then 
+{\it all} full-bar rests will be horizontally centered between bar 
+lines, including pauses ({\tt rp}) as well as normal rests that fill the bar. 
+
+	The default vertical position of a rest depends on whether there
+are one or two voices in the staff. 
+For one voice it is just the \MusiXTeX{} default 
+(approximately centered on the middle line).  On the other hand, in  
+the lower voice in 
+a two-voice staff, the rest is lowered {\tt 4\bs internote}, while 
+in the upper voice it is raised {\tt 2\bs internote}.  The \PMX default can be 
+manually overridden by appending {\tt +}~or~{\tt -} and an integer 
+representing the offset from the {\it middle} line of the staff 
+(not from the \PMX default if there are two voices in the staff!).  
+So for example, in a single staff 
+in 3/4 meter, two voices, each with a half note followed by its own
+quarter rest would be either 
+\begin{verbatim}
+c24 r4 //
+c25 r4 / 
+\end{verbatim}
+or equivalently
+\begin{verbatim}
+c24 r4-4 //
+c25 r4+2 / 
+\end{verbatim}
+while
+\begin{verbatim}
+c24 r4+0 //
+c25 r4b /
+\end{verbatim}
+would produce two notes followed by a single, vertically centered rest.
+
+Another way to override the default vertical positioning of rests is useful in
+keyboard scores, or in fact any score containing two voices on a staff. 
+The option {\tt K} (for {\bf K}eyboard) in the
+{\tt A} command generally causes rests to be 
+aligned horizontally with notes in the voice in which they are entered. See
+section~\ref{Acommands} for a detailed description.
+
+	\label{MultibarRest}The command {\tt rm} followed immediately by an 
+unsigned integer will generate a {\bfi m}{\it ulti-bar} 
+rest, a special combination of characters between two bar lines 
+representing two or more bars of rest. The integer will always be printed, 
+horizontally centered. The integer in the command \NEW{2.91}may optionally
+be followed by {\tt n} and then another integer, possibly negative, indicating a
+different vertical position for the number relative to the bottom staff line. 
+The default is 9. To put the number
+below the staff use -5 or -6. Once the height is changed it will stay the same until
+changed again. The {\tt rm} command will generally only be used in separate parts 
+that have been automatically generated by {\bfx scor2prt}. However, it
+\NEW{2.4}may be used in a multi-line score, provided it is entered for the same
+number of bars in every staff.
+
+\subsubsection{Chords}\label{chords}
+
+      Chordal notes, which always share a stem and the same time value as the 
+prior note, are symbolized with {\tt z} (for {\bf z}ero time) followed by a note name and 
+optionally an accidental, {\tt +} or {\tt -} as octave indicator, and {\tt e} 
+or {\tt r} for a l{\bf e}ft or {\bf r}ight shift by one notehead width.
+No basic time value is allowed.  If the main note
+is dotted, then the chordal note will appear with a dot regardless of whether
+a {\tt d} is entered.  The only time a {\tt d} is required in a chordal note
+command is if the dot's position is to be adjusted; in this case the
+{\tt d} is required, followed by one or two decimal numbers, each preceded by
+{\tt +} or {\tt -}.  The first is the vertical shift in \bs{\tt internote}s;
+the second, the horizontal shift in notehead widths. 
+Any number of chordal notes can follow a 
+single main note.  The stem direction of a chord is controlled by the main
+note, but may be manually overridden with {\tt u} or {\tt l} in the main note
+command.
+
+    When chordal notes are beamed together, the default height and angle of 
+the beam will be determined by the main note on each stem (the one without 
+{\tt z}).  If a beam joining chordal notes looks bad, you can usually  
+fix it either by changing which note acts as the main one, 
+or by fine-tuning the beam parameters as described 
+in section~\ref{beams}.
+
+\PMX uses a complex algorithm to automatically position accidentals in chords. 
+If you are unhappy with the result, you can manually tweak the horizontal 
+positions as described in section~\ref{AccidentalPosition}.
+
+Although there is no dedicated command for it, chords can be made to span from
+one staff to another using various techniques\NEW{2.73}. The approach will depend on
+whether 
+the chord is single-stemmed with no flag, single-stemmed with a flag, or beamed. 
+If beamed, it will also depend on whether it is an xtuplet or not. Examples of all
+the basic possibilities are contained in the sample file {\tt staffcrossall.pmx}.  
+
+For unbeamed, unflagged staff-crossing chords, 
+by lengthening the stem with the {\tt L} option on the main note, it can 
+be made long enough to join with an unflagged single-stemmed note or chord in the 
+next staff. Single-stemmed notes with one or more flags can be joined across staves 
+with a trick discovered by Andre Van Ryckeghem: In one staff create a standard note or 
+chord with 
+the stem pointing away from the other staff. In the other staff, place the chord notes
+in a one-note forced beam that has been lowered or raised into the first staff
+(e.g. {\tt [-10 b14 ]}); that
+will stretch the stem to join the other notes, but with just one note (or chord) in the
+beam, the crossbar will have zero length and be invisible. 
+
+Beamed chords may also span from one staff to another, using joined beams (see 
+section~\ref{beams}). The general approach is to construct a set of chords 
+(or single notes, if the other chord notes are in the other staff) in each of
+the two staves, enclose each set in a separate forced beam, and join the two 
+beams with {\tt ]j}...{\tt [j}~. It is important to remember that the
+lower staff is processed first. So in most cases, the end of the segment in the lower
+staff must be joined (using {\tt ]j}) to the start of the upper segment (with {\tt [j}).
+It turns out that for non-xtuplet beamed chords, in all cases where the chord at the 
+beginning of the beam has a note 
+in the {\it lower} staff, this works fine provided that the forced beams are of equal
+duration and cover the same time span, and that positions in either staff with no note 
+are represented with 
+blank rests \bs{\tt rb} inside the force beam. So for example a set of beamed chords 
+that starts only in the
+lower staff and ends only in the upper could be represented by
+\begin{verbatim}
+[+28 g83 g g rb ]j /
+[jf rb g84 g g ] /
+\end{verbatim}
+This example highlights some other issues, viz., that the beam height or direction of one 
+or both beam groups may need to be altered. Often this will require trial and error. 
+
+Unfortunately this two-group procedure breaks down if the first chord in the beam has no
+notes in the lower staff. There are tricks to get around this; the user is referred to
+the file {\tt staffcrossall.pmx} for examples. However, there is a much more 
+straightforward way to define 
+staff-crossing beamed chords that begin in the upper staff: it simply requires defining 
+the beamed group in each staff as an xtuplet within a forced beam. It turns out that 
+the treatment of 
+staff-crossing beamed xtuplets is more robust than for non-xtuplets, and will admit
+more intuitive coding. So for example, the reverse of the above example, where
+the beam starts in the upper staff and ends in the lower, could be obtained with
+\begin{verbatim}
+[+28 rb2x4n g3 g g ]j /
+[jf g24x4 g g rb ] /
+\end{verbatim}
+\newdimen\psav\psav=\parindent\parindent=0pt where we used the option {\tt n} to  
+suppress printing the number. As you might expect, more general staff-crossing 
+beamed chordal xtuplets follow the same concepts already described for non-xtuplets,
+but as noted, they are more robust and admit patterns that start in the upper staff
+and end in the lower one. {\tt staffcrossall.pmx} also contains examples this
+approach.
+ 
+\parindent=\psav
+
+\subsubsection{Grace notes}\label{graces}
+
+	A grace note command starts with a {\tt G}.  It is entered in its natural
+order, normally before the main note, but sometimes after.  After {\tt G} and
+before the note name, comes any 
+combination of the following options: an unsigned integer (which may have 2 digits)
+representing the number of 
+notes in the grace (default is 1), {\tt m} and a digit for 
+{\bfi m}{\it ultiplicity} 
+(number of flags or beams, default is 1, 0 is allowed), 
+{\tt s} for {\bf s}lur (joining all notes of the 
+grace to the main note; no other {\bf s} is needed on the main note), 
+{\tt x} for a slash (only for single graces), 
+{\tt l} or {\tt u} to force the direction of the stem(s), 
+{\tt X} followed by a decimal number {\it x} to insert a gap of {\it x}
+notehead widths between a normal grace and its main note\NEW{2.6},
+{\tt A} (for
+{\bf A}fter) or {\tt W} (for {\bf W}ay-after) to associate 
+the grace note with the {\it prior} note.  Next comes the only 
+required character, the 
+first note name.  No time value can be entered, but if needed, the 
+octave or an accidental can be given as in a normal note.  Second and 
+later notes must follow immediately in sequence, set apart by spaces, likewise 
+without any time value, and without any intervening commands.
+
+	Normal or after-graces will be placed {\it immediately} before or after
+the main note; way-after's, as far to right as possible before the next note 
+or bar line.  If either type of after-grace is slurred, the slur will start 
+on the main note and end on the last one in the grace.  
+	
+
+\subsubsection{Ornaments}
+
+	Commands for ornaments are entered {\it after} their associated 
+note command.  The ornaments now available are shake ({\tt ot}), {\bf m}ordent 
+({\tt om}), ``x"- or ``+"-shaped ornament symbols ({\tt ox, o+}), pizzicato 
+({\tt ou}), strong {\bf p}izzicato ({\tt op}), left parenthesis before
+notehead ({\tt o(}), right parenthesis after notehead ({\tt o)}), 
+upper {\bf f}ermata ({\tt of}), {\bf d}own {\bf f}ermata ({\tt ofd}), 
+staccato ({\tt o.}), tenuto ({\tt o\_}), two different se{\bf g}nos 
+({\tt og} or {\tt oG}), {\bf C}oda ({\tt oC})\NEW{2.71}, 
+arbitrary-length wavy-line {\bf t}rill with {\it tr} ({\tt oT}), 
+arbitrary-length wavy-line
+trill without {\it tr} ({\tt oTt}), sforzando ({\tt o>}), 
+%duncecap ({\tt o}\hbox to 6pt{\tt\^~}), \NEW{2.4}{\bf c}aesura ({\tt oc}), and 
+duncecap ({\tt o\verb|^|}), \NEW{2.4}{\bf c}aesura ({\tt oc}), and 
+{\bf b}reath ({\tt ob}).
+All except the parentheses, staccato,
+tenuto, and down fermata will normally 
+appear above the staff; the parentheses appear at the level of the note 
+head, and staccato and tenuto just above or below depending on the 
+stem direction.  The only difference between staccato and 
+pizzicato is the vertical positioning of the dot.
+
+Either type of trill may immediately include an unsigned decimal number 
+to specify the length of the printed symbol in current \bs{\tt noteskip}s; the 
+default is 1. Thus {\tt oT0} represents {\it tr} with no wavy line.
+
+Once the ornament type has been specified, most of them can be raised 
+or lowered from their default position by appending
+a signed integer to the command, representing the vertical offset
+in \bs{\tt internote}s. \NEW{2.4}. A second signed integer specifies a 
+horizontal shift from default in notehead widths.  
+
+The caesura and breath marks differ from the others in their default horizontal position, 
+which is 0.5\bs{\tt noteskip} past the note. 
+
+The {\tt og} segno has several special properties. It must be entered in the first (lowest) 
+staff, but will appear above
+every staff. Its vertical position cannot be altered, but if appended by a number...unsigned
+if positive...all appearances will be shifted horizontally by that number of points. On the 
+other hand, the {\tt oG} segno\NEW{2.71} has a smaller symbol than {\tt og}, 
+applies only to the note after which it is entered, and can be shifted just as a 
+normal ornament.
+
+     An ornament can be automatically repeated on a series of consecutive notes,
+provided the notes are all in the same voice and the same input block.  
+To activate this feature, terminate  
+the first ornament command with~{\tt:}~.  Then every note in that voice will 
+have the same ornament until a note is followed by the repeat terminator
+{\tt o:} . 
+
+\subsubsection{Editorial accidentals}
+
+     To place a small sharp, flat, natural, or question mark above the staff, 
+after the affected note enter {\tt oe} followed by {\tt s, f, n} or {\tt ?}. 
+\NEW{2.2} You may also put a question mark right after the accidental.
+
+\subsubsection{Slurs} \label{slurs}
+
+        By default \PMX will use \MusiXTeX's built-in font-based slurs.
+But through user intervention it is possible to use either one of 
+\NEW{2.4}two different types of postscript slurs. {\it Type K} slurs, 
+developed by Stanislav Kneifl, are directly supported by \PMX and will
+be the focus of any future \PMX enhancements. 
+They are globally activated with {\tt Ap} and several global
+defaults set with other options to the {\tt A} command as described in
+section~\ref{ApDirective}. If these are used, so will an alternate
+set of hairpins (see section~\ref{dynamics}).   
+The other postscript slur option is Hiroaki Morimoto's {\it Type M} slurs. 
+These
+are not directly supported by \PMXX, but are intended to be fully
+compatible with the default font-based slurs. To use them, one would
+use the in-line \TeX~command \bs\bs{\tt input musixpss}\bs~, and be sure
+{\it not} to enter {\tt Ap} .  From \PMXX's standpoint they are no different
+from font-based slurs.
+
+There are some advanced options available only
+with Type K postscript slurs, and a few obsolete ones only with font-based.
+At this point the main
+difference in functionality between the two is that with postscript, \PMX
+provides support for 
+true ties, which are shaped and positioned slightly differently from
+slurs.  Future enhancements
+will probably only work with Type K postscript slurs. Some users do still 
+prefer
+font-based, possibly because Type K postscript slurs are not visible in some 
+DVI viewers. 
+New users should experiment with the various types of slurs and decide for
+themselves.
+
+	The normal commands for slurs are {\tt (} placed with a space 
+before a note, and {\tt )} placed after.  The command {\tt s} is equivalent to
+{\it both} of them (!), except that it always follows the affected note.
+With font-based slurs, {\tt t} is equivalent to {\tt s} but 
+with several minor differences to be explained later. With postscript slurs,
+{\tt t} signals to use a true tie.
+The commands {\tt s} and {\tt t} are {\it toggles}, turning
+a slur or tie off if it's already on and starting one otherwise.
+
+A \NEW{2.5} slur or tie may end on a rest, but not start on one. The default 
+ending height in this case will be the same as the starting height, and it 
+may be tweaked as described below.
+
+   The first character is optionally followed by
+a single-character ID code {\tt 0-9} or {\tt A-Z}, then by other
+options described below.  ID codes are only needed if two or more slurs are 
+open at the same time within one voice, such as when several chord 
+notes are tied.  Using ID codes in such cases tells \PMX which open slur to
+close. ID codes cannot be used with font-based {\tt t} slurs. 
+ 
+The rules for finding the default direction and position of a slur
+are complex; many factors enter into defining visually pleasing values.  But 
+there's no need for gory details here; the result will usually satisfy, and if 
+not, it can easily be tweaked.  The default direction of curvature can be 
+overridden with {\tt u} ({\bf u}pper), {\tt l} ({\bf l}ower),
+or equivalently {\tt d} ({\bf d}own).  
+Starting or ending position can be shifted from its default by
+entering one or two explicitly signed numbers.  The first, which must be
+an integer, represents the vertical shift in \bs{\tt internote}s; the second,  
+which may be decimal, the horizontal offset in notehead widths. \NEW{2.71}Starting 
+or ending
+position of a postscript slur or tie can be made to align with the end of the stem 
+of an unbeamed note by using the option {\tt v}. No other options are permitted
+with {\tt sv}, but any desired position can be forced with the numeric options.
+
+The shape of the slur may be altered as well\NEW{2.1}. This paragraph
+deals with font-based slurs, for which the shapes may be less 
+than fully satisfying due to fundamental limitations of \MusiXTeX.
+At the slur termination only, one or three
+more parameters may follow the ones just described.  The first, a signed,
+nonzero
+integer, is a vertical adjustment to the mid-height of the slur in  
+\bs{\tt internote}s.  The next two, integers between 1 and 7 following a 
+``{\tt :}", are alterations to the starting and ending slopes.
+These numbers are
+passed directly as arguments of the \MusiXTeX{} macros \bs{\tt midslur}
+(if only
+one is given) or \bs{\tt curve} (if there are three).
+
+For \NEW{2.4}Type-K slurs,
+the shape may be changed locally by including {\tt f} in either the
+slur's starting or ending command to flatten it a bit, or {\tt h},
+{\tt H}, or {\tt HH} to
+increase its curvature and raise or lower its middle by increasing degrees.
+The default \NEW{2.5}curvature can be altered from normal 
+with new suboptions 
+to {\tt Ap} as described in section~\ref{ApDirective}. Local 
+curvature tweaks will take precedence over the global default. A special 
+option {\tt n} to the slur command can be used to locally restore the normal
+curvature if the default curvature has been globally changed.
+
+Another option peculiar to Type-K slurs and ties is to locally 
+override the global
+setting for automatic height adjustment (to avoid tangencies with staff
+lines).  The global defaults may be changed with the {\tt A} command as
+described in section~\ref{ApDirective}. To
+override the global setting for the current slur or tie only, use
+the option {\tt p} in the command that starts the slur or tie,
+followed by {\tt +} or {\tt -} (to turn adjustment
+on or off), followed by {\tt s} or {\tt t} (for slur or tie). 
+
+A dotted \NEW{1.41} slur is activated by including the option {\tt b} (for
+{\bf b}roken) in the command that starts the slur. 
+
+Slurs involving grace notes are specified within the command for the grace 
+(see section~\ref{graces}).
+
+For font-based slurs, the unique aspect of {\tt t} slurs is that if one
+starts or ends on the same
+note as an {\tt s} slur, the former will be moved away from the notehead to 
+avoid a collision.  {\it This only works if neither slur has an ID code.}
+This feature is only retained for backward compatibility.
+
+The available options should cover most circumstances, but if not, 
+the \TeX\ macros \bs{\tt isu} etc, defined in {\tt pmx.tex}, can be entered 
+as in-line \TeX\ commands (see section~\ref{LitTeX}).  
+These commands have three arguments: 
+slur number, vertical position (pitch, or offset from bottom staff line in 
+\bs{\tt internote}s), and horizontal offset in
+notehead widths.  When using these commands, you must choose an explicit
+slur number.  Use one large enough to avoid
+conflicts with \PMXX 's automatic slurs, which are numbered from \NEW{2.4}
+0 upward. 
+Also, remember that non-spacing in-line \TeX\ commands such as this one must 
+come {\it before} the note they apply to, in contrast with the \PMX 
+slur toggles which may come after.  
+
+\subsubsection{Ties}
+
+With font-based slurs, in \PMX the only difference between ties and slurs
+is the default positioning.
+Ordinary slur ends are centered horizontally above or below the notehead, 
+while tie ends are shifted inboard and closer to the midheight of the 
+notehead.  To specify a font-based tie in \PMXX, use a slur command and 
+include the option {\tt t} 
+in it, somewhere after the initial {\tt ( , ) , s } or {\tt t} .
+
+\NEW{2.4} With postscript slurs, ties---indicated with {\tt t} or
+{\tt st}---will have similar differences
+in endpoint positions,
+but in addition will have a different shape (somewhat flatter) and will
+always end at the same height they start. There is also an option to the
+{\tt A} command that affects ties across line breaks 
+(see section~\ref{ApDirective}). By default the 
+second part of such ties will be drawn as a complete tie symbol.  However,
+if you want them to be a {\it half tie}---a special shape that is horizontal
+at its left end---use the command {\tt Ap+h} at the start of the file. 
+
+In addition to the notation options just mentioned, ties may also be 
+%indicated with the character {\tt\{} before the starting note and {\tt\}} after
+indicated with the character {\tt$\{$} before the starting note and {\tt$\}$} after
+the ending note\NEW{2.6}.
+
+\subsubsection{Line-breaking Type K slurs and ties} \NEW{2.5} \label{lbslurs}
+
+No special action is required if a slur or tie happens to cross a line break.
+However, some special, manual adjustments are available for Type K postscript
+slurs in these cases. The global option {\tt Apl} by itself adjusts several 
+parameters as described in section~\ref{ApDirective}. Further, if {\tt Apl} 
+has been issued, 
+then case-by-case adjustments for line-breaking Type K slurs and ties are 
+available as suboptions to the
+slur commands. To tweak the horizontal and vertical positions of the end of 
+the first segment, enter the suboption {\tt s} in the command that starts 
+the line-breaking slur or tie, followed by two signed numbers representing 
+respectively the vertical shift 
+in \bs{\tt internote}s and the the horizontal shift in notehead widths. To
+tweak the position of the start of the second segment, follow the above by 
+another {\tt s} and two more signed numbers. The usual curvature options 
+{\tt h}, {\tt H}, {\tt HH}, and {\tt f}, if included in
+the starting command for a line-breaking slur, will apply only to the first
+segment, and if in the closing command, to the second segment. If the tweaked 
+slur or tie does not happen to come at a linebreak,
+the special position tweaks (after {\tt s} ) will all be ignored, and the 
+curvature tweaks on the closing note will take precedence as they normally 
+would.
+
+\subsubsection{Dynamics} \label{dynamics}
+
+\NEW{2.3}
+After the affected note, enter {\tt D} followed by one of the 
+following {\tt pppp, ppp, pp, p, ffff, fff, ff, f, mf, mp, fp, sfz,
+"[{\it any text}]", >,}
+or {\tt <} .  The last two are diminuendo and crescendo, and they are toggles, 
+i.e., the first one of each starts the symbol and the next one ends it.  
+The one surrounded by \NEW{2.76} double quotes is an arbitrary text string
+no longer than 64 characters, which may include embedded \TeX.
+By default a single note dynamic mark is horizontally centered below the note 
+to which it is assigned, or below the staff, whichever is lower. Dim. or cresc.
+follow the obvious extension of that rule to the starting and ending note taken
+together. Examples of the default positions of dynamic marks are contained 
+in the file {\tt dyntest.pmx}. However, with any dynamic mark you can also 
+enter position shifts, vertical as a signed integer representing
+the number of {\tt \bs internote}s, then (if desired) horizontal as a signed 
+number representing a 
+number of notehead widths.  There can only be one of the letter-groups on each 
+note, but there may also be {\tt D<} and/or {\tt D>} on the same note.  These must be 
+entered as separate {\tt D...} commands, and must come in the right order, e.g.,
+
+\medskip
+[{\it some notes}] {\tt D<} [{\it more notes}] {\tt D< Dffff D>} 
+[{\it more notes}] {\tt D>}
+\medskip
+ 
+Hairpins \NEW{2.7} may span from one input block to the next.  
+
+There are numerous context-sensistive automagic adjustments to the positions 
+of all the dynamic symbols.  If you don't like the result you can adjust the
+position as just described. 
+
+Due to \MusiXTeX's limitations, 
+there are some restrictions on hairpins when using font-based slurs.
+They cannot be longer than 68mm, they cannot wrap over a system break, and they
+must be horizontal. Finally, 
+only certain specific lengths are available so some horizontal position
+tweaking may be needed, especially when letter-groups and 
+hairpins are combined.
+These restrictions are all removed when using postscript slurs.
+
+\subsubsection{Beams} \label{beams}
+
+	For the most part, \PMX automatically takes care of the details of 
+defining beams: selecting which notes are beamed together, and setting 
+the angle, direction, height, and {\it multiplicity} (the number of bars 
+along the top or bottom).  However, one may define a {\it forced} 
+beam---which overrides \PMXX 's selection of which notes are beamed 
+together---by 
+surrounding the included notes with {\tt [} and {\tt ]}, being certain to 
+separate these commands and their options from the included note commands with
+spaces.  One may also wish to edit certain features of a beam even when 
+\PMXX 's grouping decision 
+would otherwise be acceptable; here again the beamed notes must be set 
+apart with {\tt [} and {\tt ]}.  
+
+The {\tt [} may optionally be followed 
+immediately by several options. 
+
+{\tt u} or {\tt l} will override 
+\PMXX 's selection of the direction of the beam, while {\tt f} will
+{\bf f}lip it from whatever \PMX decided. 
+
+{\tt j} {\bf j}oins the beam
+grouping to a prior one started in another system (see below).  
+
+One, two, or three consecutive integers, each preceded with {\tt +} 
+or {\tt -} , will affect the beam's appearance.  The first integer is 
+an adjustment to the starting level (in \bs{\tt internote}s) and may range 
+from -30 to 30; the second is a slope adjustment with the same 
+permissible range; the third is an alternate adjustment to the 
+starting level (in beam thicknesses) and may only range from 1 to 3, 
+always acting to increase the stem length.  The latter may be used to 
+align consecutive horizontal beams which have internal multiplicity 
+changes.  For example, in 2/4 time, {\tt c84~c1~c~c~c~c8} would cause two 
+beams but the 
+first one would be lower than the second; {\tt [+0+0+1~c84~c1~c~]~c~c~c8}
+would align the tops of the beams with each other.  Due to the 
+complexity of \PMXX 's beam analysis procedures, these editing commands 
+may sometimes produce unexpected results, and some iteration may be 
+required to get exactly what you want.  For example, 
+{\tt [+0+0+3~cd8~c3~c6~c~]~c~c~c3~cd8} 
+will not produce two aligned beams as desired, because 
+when \PMX analyzes the first beam, it automatically raises the starting 
+level a bit for another reason, namely, to avoid too short a stem on 
+the 64th notes at the end of that beam.  In this case, 
+the user could counteract \PMXX 's internal adjustment by using 
+{\tt [-1+0+3~cd8~c3~c6~c~]~c~c~c3~cd8}.
+
+The option {\tt h} forces the beam to be {\bf h}orizontal.
+
+The character {\tt m} followed by a digit 1-4 forces the {\bf m}ultiplicity 
+of the beam, the number of stem-joining bars.  
+
+        By default, xtuplets are set apart with their own beam.  To beam 
+an xtuplet together with other non-xtuplets, just include it with the 
+other notes in a forced beam.
+
+        Rests may also be included within forced beams, provided they are 
+shorter than quarter rests, and of course that they come {\it between} the first
+and last notes under the beam.
+
+It's \NEW{2.5} now easy to define a repeating forced beam pattern. 
+If the option {\tt :}~(colon) is included in the starting command {\tt [}~for 
+a forced beam, then after you end the beam, more beams of the same duration 
+will be forced in 
+that voice, until stopped. They will be stopped at either the next regular 
+forced beam, or the end of the input block for that voice, whichever comes 
+first.
+
+	Some users may wish to define beamed groupings with subgroups 
+joined by a single beam.  The command {\tt ][}, standing alone between two 
+note commands in a forced beam, causes the multiplicity to decrease to 
+unity and immediately increase to its natural value for the next note.  
+For example, {\tt [~c14~c~c~c~][~c~c~c~c~]} will generate two doubly-beamed 
+groups connected by a single beam.
+
+Related \NEW{2.3} to this is a {\it single-slope beam group}, which is the 
+same as described
+in the previous paragraph except that the beam disappears between segments. 
+Segments should be separated by {\tt ]-[} standing alone between two notes 
+inside the forced beam.
+
+        If there are large jumps in pitch between notes in a beam within
+a single staff, as a matter of taste you may wish 
+to start the beam for example as an upper one and end it as a 
+lower.  \PMX will never do this automatically, but you can accomplish
+it by forcing the beam with appropriately modified up/down-ness, starting level,
+and slope.  If you use this technique, there are two details to note: (1)~if 
+there are any intermediate multiplicity changes, they will only be handled
+properly if the initially specified up-down-ness is consistent with the 
+vertical position
+of the intermediate notes involved, and (2)~for proper appearance in crowded
+scores you may wish
+to insert hardspace or shifts as described in 
+section~\ref{hardspace}.  Some examples are included in {\tt most.pmx}. 
+
+       Beams cannot normally jump staves.  But if that is desired, start
+the beam normally in one staff, and terminate the part of the beam in that
+staff with {\tt ...~]j} .  Then resume the beam in the new, adjacent staff with 
+{\tt [j~...} . For staff-jumping beams, it's OK to have just a single note 
+inside one or both of the members.  Some adjustment of the beam height and
+slope may be required.  Sometimes the ending section's up-downness must be 
+overridden; you will know this is so if the ending is shifted horizontally 
+from its proper position by one notehead width.  
+Each voice must still have the right number
+of beats, so you will probably need to fill time with blank rests after the 
+first member of the beam in one staff and before the second member in the other.  
+There can still only be one staff-jumping beam open at a time. 
+
+	\label{Jumps}In most cases \NEW{2.91} it is possible within \PMX to set a staff-jumping 
+beam that changes multiplicity right at the jump. The only cases where the author 
+hasn't yet found a way are where multiplicity increases and the beam runs 
+at a height between the notes in the two staves. In that case some inline \TeX\  
+is needed. The example below covers all possible combinations of jump direction;
+whether the beam runs below all, between, or above all of the notes; and
+whether multiplicity stays the same, increases, or decreases at the jump.
+
+~
+\begin{verbatim}
+h4.4i
+w5.5i
+\\let\nbbut\nbbu\let\nbblt\nbbl\
+% Fixed mult, up jump
+[ g83 g ]j rb4 | [u g83 g ]j rb4 | [u+14 g83 g ]j rb4 /
+rb4 [j f84 f ] | rb4 [j f84 f ]  | rb4 [jl f84 f ] /
+% down jump
+rb4 [j g83 g ] | rb4 [j g83 g ]  | rb4 [ju g83 g ] /
+[ f84 f ]j rb4 | [l f84 f ]j rb4 | [l-14 f84 f ]j rb4 /
+L2
+% Bar 7 Incr mult, up jump
+[ g83 g ]j rb4    | [l+14 g83 g ]j rb4 /
+rb4 [j f14 f f8 ] | rb4 \def\nbbu#1{\nbbl{#1}\let\nbbu\nbbut}\ [ju f14 f f8 ] /
+[u+14 g83 g ]j rb4 /
+rb4 [jl f14 f f8 ] /
+% down jump
+rb4 [j g13 g g8 ] | rb4 \def\nbbl#1{\nbbu{#1}\let\nbbl\nbblt}\ [j g13 g g8 ] /
+[ f84 f ]j rb4    | [u-14 f84 f ]j rb4 /
+rb4 [ju g13 g g8 ] /
+[l-14 f84 f ]j rb4 /
+L3
+% Bar 13 Decrease mult, up jump
+[ g83 g1 g1 ]j rb4 | [u g83 g1 g1 ]j rb4 | [u+14 g83 g1 g1 ]j rb4 /
+rb4 [j f84 f ]     | rb4 [j f84 f ]      | rb4 [jl f84 f ] /
+% down jump
+rb4 [j g83 g ]    | rb4 [j g83 g ]     | rb4 [ju g83 g ] / 
+[ f84 f1 f ]j rb4 | [l f84 f1 f ]j rb4 | [l-14 f84 f1 f ]j rb4 /
+\end{verbatim}
+
+\includegraphics[scale=1.0]{sjb291.eps}
+
+~
+
+\subsubsection{Clefs}
+
+	A clef change is signaled by {\tt C} followed by a single lower-case 
+letter or digit using the code specified in 
+section~\ref{ClefCodes}.  If clefs come out at the wrong 
+vertical position, refer to the note in {\tt pmx.tex}.
+
+\subsubsection{Arpeggios}
+
+To set an arpeggio (a vertical wavy line), simply place the \bs  {\tt ?} 
+after the commands for both the first and last note. To shift the symbol to
+the left by {\it x} notehead widths, use the option {\tt -}[{\it x}]\NEW{2.6} . 
+
+\subsubsection{Lyrics}\NEW{2.73}\label{lyrics}
+
+Lyrics rely on the underlying \TeX\ command {\tt\bs pmxlyr} developed by Dirk
+Laurie, which is defined in {\tt pmx.tex}. It in turn makes use of the macro 
+package {\tt musixlyr.tex} developed by Rainer Dunker. So to enable lyrics within \PMXX, 
+you will need to 
+ensure that {\tt musixlyr.tex} is installed somewhere in your system where your 
+\TeX\ processor can find it. 
+
+Lyrics can be inserted by enclosing them in double-quotes inside the music line 
+just before the first note to which they apply, as in
+{\tt "us-ing lyr---ics now\_\hglue1pt\_ "}. Once the first double quote is encountered, \PMX will
+ensure that {\tt musixflx.tex} is input into the \TeX~file. 
+
+Lyrics for several notes can be defined in one go. 
+The lyrics in each input string demand a specific number of notes, depending on
+the number of syllables, hyphens, and underscores. If there are not enough lyrics, 
+question marks will appear; if too many, the excess syllables will not appear.
+
+The rules for aligning lyrics properly with notes are as follows. Words are 
+separated by whitespace, with any number of spaces counting as one. Syllables
+within a word that require just one note each are separated by a single hyphen. There are 
+two ways to extend a syllable over two or more notes. If it is the last syllable in 
+a word (like {\tt "now\_\hglue1pt\_ "}), follow it with consecutive underscores, one for each extra 
+note, and finally a space. It will be printed with a continuous underscore. 
+To extend a syllable within a word (like {\tt "lyr---ics"}), insert one extra hyphen
+(with no spaces) for each 
+extra note, and it will be printed with some number of hyphens filling the proper 
+space between syllables. Conversely, a tilde ({\tt \char126}) between two words 
+(with no spaces) prints a space between them while assigning the last syllable of the 
+first and the first syllable of the second to a single note\footnote{This is just an 
+example of using a standard \TeX\ feature within lyrics.}. So in the end, in a voice 
+with lyrics, every note must be associated with a syllable, its extension, or two 
+syllables joined with a tilde.
+
+Although underscores within a word or consecutive hyphens at the end may not crash the 
+code, they are not recommended for any foreseen useful purpose.
+
+Accented characters can be included in lyrics or elsewhere in several different ways. Here
+we provide examples for just one of those methods, one which uses special \TeX~commands.
+The following \PMX input contains most of the available accented characters and 
+leads to the example pictured below.
+
+\begin{verbatim}
+"\'o \`o \^o \"o \~o \=o \.o \u{o} \v{o} \H{o} \t{oo}"@b+4 
+c44 d e f g a b c c- d e r / 
+
+"\c{o} \d{o} \b{o} {\oe} {\OE} {\ae} {\AE} {\aa} {\AA} {\o} {\O} {\l} {\L} {\ss}" 
+c44 d e f g a b c c- d e8 f g a /
+\end{verbatim}
+
+\includegraphics[scale=1.0]{accents.eps}
+
+By default, lyrics will be placed below the staff where they are entered, half way between that 
+and the next lower staff. You may want to 
+alter the vertical position of a lyrics line, especially if both voices in 
+a staff have lyrics. This is accomplished with the opfion {\tt @}, immediately
+following the closing quote of the 
+lyrics string with no space. That must be followed by either {\tt a} or {\tt b} for 
+{\bf a}bove or {\bf b}elow the staff, then a signed integer for the number of 
+\bs{\tt internote}s above or below the default height. This command is "sticky"; it
+will remain in force for later lyrics in the same voice until altered.
+
+It may also be necessary to allow extra vertical space where the lyrics are positioned. 
+There is no \PMX command for this, but type 2 inline \TeX~can be used to insert extra
+vertical space above any instrument. For example, if the voice is in instrument \#2 and
+lyrics are below that staff, 
+\bs\bs{\tt interinstrument=0\bs internote\bs setinterinstrument1\{8\bs internote\}}\bs~ will
+add \newline 8 \bs{\tt internote}s in the space for the lyrics.
+
+Present limitations allow lyrics at upper and lower voices on the bottom two 
+staves of instruments 1 to 4. Elsewhere they are quietly ignored.
+
+Most scores with lyrics will benefit from the type 2 command \bs\bs{\tt sepbarrules}\bs, which
+stops bar lines from crossing through the vertical space between instruments.
+ 
+The notation {\tt "us-ing lyr---ics now\_\hglue1pt\_ "} is actually shorthand for the inline \TeX\  
+string {\tt\bs pmxlyr\{us-ing lyr---ics now\_\hglue1pt\_ \}\bs}. All the rules given in 
+section~\ref{LitTeX}~for 
+Type~1 \TeX\ strings apply. To ensure that the length of all the Type 1 \TeX\  
+strings belonging to a particular note combined does not exceed 128, remember 
+to account for the nine characters in {\tt\bs pmxlyr\{\}}.
+
+The sample files {\tt prad5.pmx} and {\tt netsoos.pmx} illustrate many aspects of 
+this direct method for entering lyrics in pure \PMX.
+
+This way of entering lyrics is a convenient interface to a subset of the 
+facilities offered by {\tt musixlyr}. If more advanced features than those supported by
+{\tt\bs pmxlyr} are needed, the necessary {\tt musixlyr} macros could be manually 
+entered as in-line \TeX\ directly into the .pmx file.
+
+If really advanced features are needed (such as having several verses of lyrics 
+at once), most users would prefer the convenient interface to {\tt musixlyr} via 
+the program {\bfx M-Tx} developed by Dirk Laurie. It is a pre-preprocessor which produces 
+a {\tt .pmx} file containing the proper in-line \TeX\ commands. Its input language 
+is similar (but not identical) to \PMX and includes most \PMX functionality as a subset.
+
+\subsection{Commands That Affect All Voices}  \label{pmxcmds}
+
+	Most commands that affect all the voices can only appear in the first 
+(lowest) voice in the first (lowest) staff. Most such commands will 
+automatically be 
+transferred from score to parts when separate parts are generated by 
+{\bfx scor2prt} (see section~\ref{scor2prt}). 
+
+\subsubsection{Repeats, double bars, forced single bars} \label{Repeats}
+
+	Repeat signs, double bars, and other bar-ending options are signaled 
+by {\tt R} followed by 
+{\tt l, r, lr, d, D, dl, b} or {\tt z} for 
+{\bf l}eft repeat, {\bf r}ight repeat, {\bf l}eft-{\bf r}ight repeat, 
+thin-thin {\bf d}ouble 
+bar, thin-thick {\bf D}ouble bar, thin-thin {\bf d}ouble bar followed by
+{\bf l}eft repeat, single {\bf b}ar, or blank (invisible) barline\NEW{2.4}. 
+Some of these have peculiarities.
+{\tt Rb} forces a single bar before a movement break (see section~\ref{movbrk}), 
+where otherwise by default there is a double bar.  That can be useful for
+example if you
+change the number of instruments (via an option in the movement-break command)
+in the middle of a movement.  {\tt Rz} will cause a blank barline at the end
+of the current system, not necessarily the current bar. It can be used 
+together with blind meter changes if you want to split a bar across a
+system break.  
+If {\tt Rlr} falls at a system break, \PMX will automatically split it in 
+two.  The command {\tt Rdl} will likewise be split at a system break, but if
+not at a system break, the {\tt d} will be ignored. 
+
+These commands must be in the 
+first voice.  It is best only to place them before the first note in an 
+input block or if necessary after the last one; otherwise {\bfx scor2prt} 
+may behave erratically.  
+Using two separate {\tt R} commands in succession will cause 
+unpredictable results.  
+
+
+\subsubsection{Voltas (first and second endings)}
+
+	Beginnings and ends of first and second endings are signaled by 
+{\tt V} (for {\bfi v}{\it olta}).  
+If it's the {\it end} of the volta, add the option {\tt b} (for 
+{\bfi b}{\it ox}) or {\tt x} for {\it no bo}{\bfi x}.  
+If it's the {\it start} of a volta, you can 
+optionally enter any text at all that doesn't include a space and doesn't 
+start with {\tt b} or {\tt x} (most 
+commonly {\tt 1} or {\tt 2}).  A period will automatically be 
+appended to the text.  If one volta ends and another starts right 
+away, only a single {\tt V} is needed.  Voltas must only be entered in the 
+first voice.  If separate parts are to be created from a score using 
+{\bfx scor2prt}, then only a single volta is allowed in any given input 
+block, and it must be at the beginning of the block.
+
+\subsubsection{Meter changes}\label{MeterChange}
+
+     Meter can only be changed at the beginning of an input block.  
+A {\bfi m}{\it eter change} command starts with the letter {\tt m}.
+There are two different ways to complete the command.
+
+{\bfx Method 1.}  Enter 4 numbers 
+with no intervening spaces.  The four numbers are {\tt mtrnuml}, 
+{\tt mtrdenl}, {\tt mtrnmp}, {\tt mtrdnp} as defined in section~\ref{setupdata},
+with the following exceptions for this method only:     
+You must use {\tt o} to represent 
+the number 1; if you enter the digit {\tt 1} then \PMX will interpret that 
+digit and the next as a 2-digit integer, between 10 and 19 inclusive.
+19 is the largest number that can be entered with this method. Note that 
+{\tt mtrdenl=0} still represents a whole note.
+
+{\bfx Method 2.}  \NEW{1.4} Enter the four numbers verbatim in the order just 
+listed, but separate them with slashes ({\it /}).
+
+\subsubsection{Bar numbers}
+
+	By default \PMX will place a boxed bar number at the start of every system
+except the first, above the clef at the beginning of the top staff. Numbers start at 
+1 unless the first bar is a pickup included in the first input block, in which case
+the pickup bar is numbered 0. There is no way to change any of this except with 
+inline \TeX. 
+
+	There are several ways to modify specific aspects of bar numbering 
+when blank gaps have been inserted (see section~\ref{Gaps}), or to continue 
+numbering rather than resetting to zero at a movement break
+(see section~\ref{movbrk}).
+
+	If you wish to mover the bar number box at the start of any system, 
+enter the type 1 inline \TeX~ command {\tt\bs bnrs[i][j]} anywhere in the
+system before the linebreak, where {\tt [i]} is the vertical shift in 
+{\tt \bs internotes} and {\tt [j]} is the horizontal shift in notehead
+widths.
+
+\subsubsection{Fundamentals of key changes and transposition}\label{transpose}
+
+As explained in section~\ref{setupdata}, the intial key signature, also called
+the concert key, is specified in the setup data. In order to change the key
+signature or to transpose (i.e. make the printed notes appear at a different 
+level than where 
+they were entered), use the {\tt K} command. The syntax is {\tt K}[{\it n}][{\it k}] 
+where {\it n} and {\it k} are explicitly signed digits respectively giving the distance 
+to transpose in \bs{\tt internotes}, and 
+new key signature. When transposing, you should always use relative accidentals, activated by
+the separate command {\tt Ar} at the start of the first input block (see section~\ref{ArDirective}). 
+For example, to transpose a piece in C major to E major you would enter 
+{\tt Ar~K+2+4} at the beginning of the first block. 
+
+To transpose by a half step to a key with the same
+letter name, use {\tt K-0}[{\it k}] where as before {\it k} is an explicitly signed integer giving
+the new signature. 
+(Using {\tt -0} instead of {\tt +0} eliminates confusion with a simple key 
+change, see the next paragraph.)
+
+A simple key change can be signalled at the start of any input block. Use
+the command {\tt K} with {\it n}={\tt +0} as the first argument and the new key signature as the second.
+
+If the signature changes from sharps to flats
+or vice-versa, the default will be to include naturals in the first instance of the new
+signature. To suppress this behavior, use the \NEW{2.7}option {\tt n} right after {\tt K} .
+For example, to change from
+2 flats to 3 sharps and suppress the naturals, enter {\tt Kn+0+3} .
+
+The procedures described above will affect all instruments in the score. To change the key of or
+transpose just a single instrument, use Ki[{\it m}][{\it n}][{\it k}] when {\it m} is an unsigned integer 
+representing the instrument number, and {\it n} and {\it k} are as just described. 
+For more than one instrument, you may immediately repeat everything after {\tt K} (including {\tt i}). 
+This may come either at start of score (right after setup) or at the beginning of any later input
+block. But if it's later, it must be preceded by a normal 
+(full score) non-transposing key change command {\tt K+0}[{\it k}]. 
+For example, to change the keys of the second and third instruments to one sharp and two sharps
+respectively, use {\tt Ki2+0+1i3+0+2} .
+
+\subsubsection{More on transposition; ``transposing'' instruments and example files}
+
+In practice, two fundamentally different situations may arise: (1) (Full-score transposition) A 
+score that has been entered in one key
+is to be completely transposed to a different key and pitch level, usually to force the range to fit
+different instruments than original; or (2) (``Transposing''
+instruments) some of the instruments require a part printed in a different key and at a different
+pitch level than it sounds.
+
+To transpose
+an entire score from the key specified in the setup data (Case TTA), simply use the 
+{\tt K} command at the
+beginning of the first input block, as outlined in the previous section. 
+
+It gets more complicated when some transposing instruments are involved, 
+because there are three different possibilities:
+(Case~CTS)~The transposing instruments can be entered in concert key but printed
+transposed in the score and in separate parts created with {\bfx scor2prt} (see 
+section~\ref{scor2prt});
+(Case~TTS)~They can be entered transposed and printed transposed in
+both the score and in parts;
+(Case~CCS)~They can be entered in concert key and printed in concert key in the score, but
+printed transposed in parts. Matters are further complicated if there is a later key 
+change. Finally, if a MIDI file is to be produced, then in cases CTS and TTS an additional 
+step involving the transpose option to the MIDI command {\tt I} 
+(see section~\ref{MIDI}) must be taken. 
+
+All of the required commands for all four of these cases are summarized in the table
+below. Following that, they are discussed a bit further and illustrated in 
+four example files (named [Case]{\tt .pmx}) that are also included in the distribution.
+
+\font\smaller=cmr10
+{\smaller
+\begin{center}
+  \begin{tabular}{cllcll}
+    \hline
+    Case & PMX entry & Printed score & MIDI pitch & Initial commands & Later key change \\
+    \hline
+     TTA & All B flat major, & All transposed up & transposed & {\tt K+2+2} & {\tt K+0-5} \\
+     ~ & later key change      & 2 steps to D     & ~       & {\tt I}     & ~           \\
+     ~ & to B flat minor       & major, later to D & ~       & ~           & ~           \\ 
+     ~ & ~                     & minor             & ~       & ~           & ~           \\ 
+    \hline
+     CTS & All B flat major,   & Trombone (1)      & concert & {\tt Ki2+5+1i3+1+0} & {\tt K+0-5} \\
+     ~ & later key change      & concert; alto sax & ~       & {\tt IT+0-5-1}     & {\tt Ki2+5-2i3+1-3} \\
+     ~ & to B flat minor       & (2) transposed up & ~       & ~           & ~           \\ 
+     ~ & ~                     & 5 to G, later G   & ~       & ~           & ~           \\ 
+     ~ & ~                     & minor; clarinet (3) & ~       & ~           & ~           \\ 
+     ~ & ~                     & transposed up 1 to & ~       & ~           & ~           \\ 
+     ~ & ~                     & C, later C minor. & ~       & ~           & ~           \\ 
+    \hline
+     TTS & Trombone (1)      & Trombone (1)      & concert & {\tt Ki2+0+1i3+0+0} & {\tt K+0-5} \\
+     ~ & concert; alto sax     & concert; alto sax & ~       & {\tt IT+0-5-1}     & {\tt Ki2+0-2i3+0-3} \\
+     ~ & (2) transposed up     & (2) transposed up & ~       & ~           & ~           \\ 
+     ~ & 5 to G, later G       & 5 to G, later G   & ~       & ~           & ~           \\ 
+     ~ & minor; clarinet (3)   & minor; clarinet (3) & ~       & ~           & ~           \\ 
+     ~ & transposed up 1 to    & transposed up 1 to & ~       & ~           & ~           \\ 
+     ~ & C, later C minor.     & C, later C minor. & ~       & ~           & ~           \\
+    \hline
+     CCS & All B flat major, & All B flat major, & concert & {\tt \%2K+5+2} & {\tt K+0-5} \\
+     ~ & later key change      & later key change  & ~       & {\tt \%3K+1+0}     & ~           \\
+     ~ & to B flat minor       & to B flat minor; & ~       & ~           & ~           \\ 
+     ~ & ~                     & parts printed    & ~       & ~           & ~           \\ 
+     ~ & ~                     & transposed        & ~       & ~           & ~           \\ 
+    \hline
+  \end{tabular}
+\end{center}
+\medskip
+}
+
+{\bfx Case TTA: Full score transposition.}
+Here the entire score is to be transposed. In the setup data the signature is set to -2. Then
+the command {\tt K+2+2} says to transpose up 2 steps from the initial key of B flat to D, and put 2
+sharps in the key signature. No special attention is needed for the MIDI; it will come out in the
+transposed key. A later (full-score) key change requires another {\tt K} command, but now the
+transposition parameter is set to 0 and the new key is the concert key (I guarantee people will be
+confused by this). In the example the command for the signature change is {\tt K+0-5} , making the
+new concert key B flat minor with 5 flats, and, considering the initial transposition, causing the
+score and MIDI to come out in D minor with 2 flats.
+
+{\bfx Case CTS: Parts all entered in concert key, but some transposed in the printed score.}
+Here, to produce the
+printed score, parts are all entered in concert key, but instrument-wise transposition is used for
+the transposed instruments. In the example the alto sax part is entered in B flat but will be
+transposed up 5 steps in the printed score, to G major. This is brought about with {\tt Ki2+5+1} . Similar
+logic applies to the clarinet part, while the trombone part is not transposed. If a MIDI file is
+desired, it will come out in concert key, but only after using the transpose option in the MIDI
+command to undo the transpositions caused by the K command. In the example the command
+{\tt IT+0-5-1} does this, ``de''transposing each of the three instruments by the necessary number of
+steps. For a later key change, first the full-score {\tt K} command changes the concert key, then the
+instrument-wise {\tt Ki command}, with the same transpositions as the initial one, sets the new key
+signatures for the transposing instruments. Here the signatures to be entered are the transposed
+signatures, i.e., the ones that will be printed.
+
+{\bfx Case TTS: Parts entered in respective transposed keys, and printed in those keys in the score.}
+In this method of scoring transposing instruments, parts for transposing instruments 
+are transposed ahead of time and 
+entered exactly as they will appear in the score. So to produce the printed
+score this way, the pitch does not have to be changed, but the key signatures must be set
+separately for each transposing instrument using the {\tt Ki} command. In the example, the alto sax is
+entered in the key of G so the instrument-wise option for it is {\tt Ki2+0+1} . Note that {\tt +0} means no
+further transposition is needed before printing, because the part was transposed on entry. Once
+again, if a MIDI file is desired, it will come out in concert key, but just as in the previous case,
+you must use the transpose option in the MIDI command {\tt IT} to undo the transpositions caused
+by the {\tt K} command. For a later key change, the same full-score {\tt K} command as in the previous
+case is used to change the concert key. Then the instrument-wise {\tt Ki} command, now with {\tt +0} for
+the transpositions, sets the new key signatures for the transposing instruments, again using the
+transposed signatures.
+
+{\bfx Case CCS: Parts entered in concert key, printed in score in concert key, but transposed in
+separate printed parts.}
+This is the easiest case of all. Nothing special needs to be done for the score, but part-only,
+full-score transposition commands {\tt\%}[instrument number]{\tt K...} should be entered in the score. Then
+{\bfx scor2prt} will generate a transposed part. Of course if a MIDI is made from the score it will
+come out at concert pitch. For example, to transpose the alto sax part up 5 steps, initially to G
+major, near the top of the score file enter {\tt\%2K+5+1} . Later, where the concert key changes to B
+flat minor and the alto sax to G minor, enter simply {\tt K+0-5}, making the new concert key B flat
+minor with 5 flats. When {\bfx scor2prt} is invoked to make separate parts, this will be transferred
+verbatim into all parts, and then \PMX will internally adjust the signature for each transposed part
+as required.
+
+{\bfx Making separate parts.}
+In all of the cases discussed, if the patterns of commands in the table are followed, then 
+separate parts can be made as usual using {\bfx scor2prt}. They will
+automatically come out transposed as desired.
+
+\medskip
+%\pagebreak
+{\bfx Texts of the transposition sample files:}
+% Note: when editing is done, figure out how to make scripts size work without page break.
+\begin{scriptsize}
+%\begin{tiny}
+\begin{multicols}{4}
+\begin{verbatim}
+%TTA.pmx
+3 2 4 4 4 4 0 -2
+1 1 20 .13
+Trombone II+III
+Trombone I
+bbb
+.\bs
+Tt
+TTA
+Apr
+I
+K+2+2
+b42 d f b t b t gf df b /
+b42 d f b t b t gf df b /
+b42 d f b t b t gf df b /
+K+0-5
+b42 c d e f gs as b /
+b42 c d e f gs as b /
+b42 c d e f gs as b /
+
+
+
+%CTS.pmx
+3 3 4 4 4 4 0 -2
+1 1 20 .1
+Trombone
+Alto Sax
+Clarinet
+btt
+.\
+Tt
+CTS
+Apr
+Ki2+5+1i3+1+0
+IT+0-5-1
+b42 d f b t b t gf df b /
+b43 d f b t b t gf df b /
+b44 d f b t b t gf df b /
+K+0-5
+Ki2+5-2i3+1-3
+b42 c d e f gs as b /
+b43 c d e f gs as b /
+b44 c d e f gs as b /
+
+%TTS.pmx
+3 3 4 4 4 4 0 -2
+1 1 20 .1
+Trombone
+Alto Sax
+Clarinet
+btt
+.\
+Tt
+TTS
+Apr
+Ki2+0+1i3+0+0
+IT+0-5-1
+b42 d f b t b t gf df b /
+g44 b d g t g t ef bf g /
+c45 e g c t c t af ef c /
+K+0-5
+Ki2+0-2i3+0-3
+b42 c d e f gs as b /
+g44 a b c d es fs g /
+c45 d e f g as bs c /
+
+%CCS.pmx
+3 3 4 4 4 4 0 -2
+1 1 20 .1
+Trombone
+Alto Sax
+Clarinet
+btt
+.\
+Tt
+CCS
+Apr
+%2K+5+1
+%3K+1+0
+I
+b42 d f b t b t gf df b /
+b43 d f b t b t gf df b /
+b44 d f b t b t gf df b /
+K+0-5
+b42 c d e f gs as b /
+b43 c d e f gs as b /
+b44 c d e f gs as b /
+\end{verbatim}
+\end{multicols}
+\end{scriptsize}
+%\end{tiny}
+
+\subsubsection{Text}
+
+	The commands {\tt h} or {\tt l}, when placed in the first 
+column of an input line and followed by a blank or, for {\tt h} only, by 
+a signed integer,  
+stand for {\bfi h}{\it eader} and {\bfi l}{\it ower text}.  They will put a 
+text string 
+above or below the {\it top} staff in the {\it first} bar of the block where 
+they are entered.  The text string must be on a line of its own, 
+immediately following the command.  The integer is a vertical shift in
+\bs{\tt internote}s.  
+
+	A {\it title block} with up to three elements can be defined at the 
+beginning of the first input block.  {\tt Tt} signals that the text 
+{\it on the following line} is to be set as a {\bf t}itle for the whole piece, 
+and it will be centered. {\tt Tc} similarly indicates a {\bf c}omposer's name, 
+to be set below the title and right justified. {\tt Ti} likewise stands for 
+an {\bf i}nstrument name, which will be set above the title, left-justified. 
+The text for any of these commands can be split over two or more lines
+by including \bs\bs~at the location of the line break.
+
+{\tt Ti} will automatically be invoked by {\bfx scor2prt} when it generates 
+parts from a score.  
+
+Extra vertical space can be added between the title 
+block and the top system by appending to {\tt Tt} a one- or two-digit 
+number representing the space in \bs{\tt internote}s.  This only works if 
+{\tt Tt} is the {\it final} title block element entered.
+
+The {\tt D} command can be used to enter arbitrary text as described in
+section~\ref{dynamics}. 
+
+Lyrics may be entered as described in section~\ref{lyrics}.\NEW{2.73}
+
+\subsubsection{Page numbering, centered header text}
+
+	If you want pages to be numbered at the top left or right, place 
+the command {\tt P} anywhere within the \PMX code that represents the first 
+page to be numbered (usually the first or second page).  
+{\tt P} can be followed optionally by the starting 
+page number and/or by {\tt l} or {\tt r}, the latter overriding the default 
+locations of odds on the right and evens on the left. \NEW{2.0}  
+There is also a special option {\tt c} for {\bf c}entered header text.  
+It must be the {\it last} 
+option in the {\tt P} command.  It will define text to be printed at the top of
+every page {\it after the first}.  If a blank follows {\tt c}, the default 
+header text will
+be the instrument name entered with the command {\tt Ti} .  If any non-blank
+character except {\tt "} follows {\tt c}, the header text will start with that
+character and end at the next blank.  If {\tt "} follows {\tt c}, the 
+header text will be everything between that and the next {\tt "} (this
+permits headers containing spaces).  The {\tt P} command and its options 
+will be ignored when making parts from a score (since page numbering 
+will usually be different in the score than in the parts), but page 
+numbering (and centered headers) for parts can be still be initiated 
+independently, for example with {\tt \%!P2} or {\tt \%1P2r} (see 
+section~\ref{scor2prt}).
+
+\subsubsection{Overriding certain defaults, or 
+getting the most from \PMXX}\label{Acommands} 
+
+Understanding this section is important if you want to get the most out 
+of \PMXX. In many 
+cases the switches described here represent subtle but significant 
+improvements that have come along since \PMX was initially developed. Rather 
+than changing the defaults, they are treated as optional in order not to 
+upset the layout of older scores. For example, virtually every new score I 
+create begins with at least {\tt Abple}.
+
+As you may have guessed, it is the command {\tt A} that can be used to 
+override a grab-bag of default settings. The available options affect a 
+wide range of \PMX features: sizes 
+and interpretation of accidentals,
+dot positions, space before the first note of every bar, space between staves,
+slur package selection, vertical positioning of Type K postscript 
+slurs, line-breaking Type-K slurs, curvature of Type-K slurs, 
+naming of parts, vertical positioning of rests in 2-voice staves\NEW{2.6}, 
+brackets for non-beamed xtuplets, and inputting so-called 
+{\it normal include} files.
+
+{\bf Size of Accidentals.}
+{\tt b} makes all accidentals 
+{\bf b}ig, {\tt s} makes them all {\bf s}mall.  By default, big ones are used 
+unless unaltered spacing doesn't provide enough space.  Thus the default 
+behavior may cause a mixture of big and small accidentals, and in fact is not
+recommended.
+
+{\bf Relative accidentals.}\label{ArDirective}
+If transposing, then the {\bf r}elative accidental convention must be used, 
+indicated by {\tt r}.  This changes the way you enter accidentals. With 
+relative accidentals, the note options {\tt s}, {\tt f}, {\tt n} take on 
+unconventional meanings, now respectively signaling that a note should be raised 
+a half step, lowered a half step, or left alone {\it relative to the pitch 
+it would have according to the key signature}. So for example, with {\tt Ar}, 
+in the key of B flat major the note command {\tt bs} would cause a B natural 
+to be printed. By contrast, the default is 
+the normal, absolute convention, where the indicated pitch alteration is
+relative to what the pitch would be if there were no key signature.
+ 
+{\bf Vertical position of dots.}
+If there are staves with two voices, {\tt d} causes dots in the 
+lower one to appear on or {\it below} center, in contrast with the default.
+
+{\bf Gap at start of bar.}
+Use {\tt a} followed by a 
+decimal number to override the default setting for \bs{\tt afterruleskip},
+the space before the first note in a bar.  The default in \PMX is  
+{\tt 1}\bs{\tt elemskip}, 20 percent smaller than \MusiXTeX{}'s. 
+
+{\bf Space between staves within a system.}
+If \PMXX's vertical spacing between staves within a system is not pleasing, use {\tt I} or
+{\tt i} , followed by a decimal number, to apply a scale factor to 
+\bs{\tt interstaff} . {\tt I} 
+affects all pages, {\tt i} only the current one.  Shrinking the space between
+staves within each system will cause the space between systems to increase, and
+conversely. These options have no effect if there is only one staff per system.
+
+{\bf Equal space between systems.}
+\label{AeDirective}\MusiXTeX~normally draws a virtual box around each system 
+and inserts equal vertical space between boxes.  \NEW{2.3} 
+When objects protrude above the top staff in a system or 
+below the bottom one, this can lead to unequal spacing between the top staff
+line in one system and the next.  If you prefer that the vertical spacing
+between the staves of consecutive systems be constant for the whole page,
+use the {\tt e} option of the {\tt A} command.  One side benefit of {\tt Ae} 
+is that it will prevent systems from spilling over onto extra pages, 
+regardless of how many systems are put on the page. When using this option, 
+you may occasionally want to force more vertical space between certain systems.  
+There is a \TeX~macro
+{\tt \bs spread} that can be inserted anywhere in the system before the 
+desired wider gap.  It has one argument, the desired extra space in
+{\tt\bs internote}s. 
+
+{\bf Stop grouping systems at top in sparse pages.}
+Another \NEW{2.4}\ command affecting vertical spacing is the {\tt v} 
+option of the {\tt A} command (for
+{\bf v}ertical). \PMX normally spreads staves 
+vertically over a full page, unless the white space becomes excessive,
+in which case it groups all staves near the top of the page.  Entering
+{\tt Av} will suppress this grouping near the top, and ensure that
+systems will always be spread vertically regardless of how much white
+space is left.  It is a toggle; the second time it is issued, the 
+behavior reverts to the default.
+
+{\bf Add extra vertical space before and/or page eject (last resort)}\NEW{2.8}
+As a last resort in getting the right spacing at the top or bottom of a page, 
+the option {\tt V} will insert a vertical skip of the specified number of 
+{\tt \bs Internote}s before and after the next page eject. It must be followed by
+{\tt +} or {\tt -}, then a number, then another {\tt +} or {\tt -} and number. 
+
+{\bf Make some staves smaller.}
+The {\tt S} 
+option to the {\tt A} command\NEW{2.7} allows you to specify a 
+different size for selected staves and their notes compared to the 
+global value set in the setup data. It is followed by exactly {\tt noinst} 
+characters, one for each instrument, selected from 
+{\tt 0}, {\tt -}, {\tt s}, or {\tt t} for 
+normal, small, small, or tiny sizes respectively. 
+
+{\bf Postscript slurs.}
+The \label{ApDirective}\NEW{2.4} command {\tt Ap} activates Type K 
+{\bf p}ostscript slurs. To use this 
+you must have {\tt musixps.tex} somewhere that \TeX~can find it, and 
+{\tt psslurs.pro} somewhere that {\bfx dvips} can find it. 
+If these files happen to be missing from your \TeX~distribution, they
+can be found 
+\href{http://www.icking-music-archive.org/software/musixtex/musixtex.zip}
+{\underline{here}}.
+Several suboptions affecting Type K 
+postscript slurs are described here and in the following paragraphs. First, 
+by default these slurs and ties will not have their vertical positioning tweaked
+to avoid tangencies with staff lines.  To activate this type of adjustment,
+use one of the suboptions {\tt +s} or {\tt +t} for
+slurs or ties respectively.
+(For example, {\tt Ap+s}). Be
+warned that this may alter the endpoint positions from what one would normally
+expect.  To deactivate the adjustment, use the same command but with {\tt -} .
+Another suboption of {\tt Ap} affects line-breaking slurs. Normally a full tie 
+is drawn at the start of the second line.  
+However, the suboption {\tt Ap+h} causes the use of 
+{\it{\bfi h}alfties} for the second part, which are flattened at their 
+left-hand end, and require the 
+special font {\tt mxsk} provided with the Type K postscript slur distribution. 
+It may be cancelled with {\tt Ap-h} .
+
+The \NEW{2.5} suboption {\tt l} (e.g. {\tt Apl}~) activates some other tweaks 
+and tweaking capabilities for line-breaking Type K slurs and ties. It 
+automatically tweaks the 
+horizontal positions of the end point of the first segment and the start of the 
+second, uses a normal tie character for both segments of a tie, and enables 
+further tweaking of the horizontal and vertical positions of internal endpoints 
+on a case-by-case basis, using options in the initial slur or tie command (see 
+section~\ref{lbslurs}, and the end of the fourth system in the example file
+{\tt barsant.pmx}).
+
+Another pair of \NEW{2.5}suboptions to {\tt Ap} affects the default curvature of
+Type-K postscript slurs. {\tt Ap+c} and {\tt Ap-c} will respectively increase or
+decrease the default curvature of all slurs to the next level in the sequence 
+{\tt f, n, h, H, HH} . (Here {\tt n} stands for {\bf n}ormal.)  Several levels 
+may be traversed by repeating the suboption, e.g., {\tt Ap+c+c} increases the 
+default curvature by two levels. If you try to 
+go outside the allowable range, a warning will be issued, the curvature will be 
+set to 
+{\tt f} or {\tt HH} , and processing will continue. See section~\ref{slurs} for 
+further details.
+
+If \NEW{2.5} your score contains Type K slurs and if you use a program such as 
+{\bf dviselec} to extract single pages 
+from a {\tt .dvi} file, you should use the suboption {\tt h} (e.g. 
+{\tt Aph}~) . This will cause the header file {\tt psslurs.pro} to be written 
+into the postscript file at the top of of every page.
+
+{\bf Vertical rest positioning in keyboard scores.}
+The\NEW{2.6} option {\tt AK} activates special rules for vertical positioning of rests in
+two-voice staves. By way of background, without this option, rests in two-voice
+staves have default positions based on a simple rule that is not 
+context-sensitive: those in the lower voice (the one before {\tt//}) are 
+4\bs{\tt internote}s below their single-voice default positions, and those in
+the upper line are 2\bs{\tt internote}s above the single-voice default. In contrast, the 
+option {\tt AK} invokes a set of context-sensitive rules to set the default 
+position. The baseline rule is to align the rest in a horizontal line with the
+next following note in the same bar. If there is no following note in the bar,
+then it is aligned with the next prior note. If there are simulataneous rests
+in both voices, the old rule is applied. When the {\tt AK} option is in force,
+it only affects places where there are two voices in a staff. It may be toggled
+on and off at the beginning of any input block, using just {\tt AK}. When the
+option is in effect, any user-defined tweaks on the height of a rest will
+supersede the option for that particular rest, i.e., the tweak will be applied
+relative to the single-voice default position. When {\tt AK} is in effect, the
+option {\tt L} in a rest command will cause the vertical position of that rest
+to be based on the {\it preceding} note, rather than the following one as is
+the default. 
+
+{\bf Names of \PMX files for parts.}
+The \label{ANDirective}option {\tt N} to the {\tt A} command allows you to specify 
+arbitrary names for the part files generated by 
+{\bfx scor2prt}. Follow {\tt AN} with the part number and the new file base name in double 
+quotes. Immediately follow this with any number of additional part numbers and 
+alternate file base names in quotes. When part files are generated, {\tt .pmx} will be
+appended to the requested base name. 
+
+{\bf Gapped bracket for nonbeamed xtuplets.}
+Non-beamed \label{ATDirective}\NEW{2.5}xtuplets will normally be printed with 
+a bracket above or below, and 
+a number above or below that. If you would like this number instead to be 
+positioned within a gap in the bracket itself, enter {\tt AT} .You must have
+{\tt tuplet.tex} available to your \TeX~processor. If missing, this file 
+can be found 
+\href{http://www.icking-music-archive.org/software/musixtex/musixtex.zip}
+{\underline{here}}.
+
+{\bf ``Include'' file.}
+\PMX commands \NEW{2.5}in an external file can be included at the start of any input 
+block by designating the file as a {\it normal include} file, using the 
+command {\tt AR}[{\it filename}] . See section~\ref{ARDirective} for details.
+
+{\bf Positioning printed pages.}
+For \NEW{2.7} printing on {\bf l}etter or a{\bf 4} paper, the command {\tt Acl} or 
+{\tt Ac4} will set the margins
+of the printed area so it will be properly centered with no further
+adjustments needed when running {\bfx dvips}.
+
+\subsubsection{Extra hardspace, horizontal shifts} \label{hardspace}
+
+	Despite the author's best intentions to relieve you of the chore 
+of adjusting {\it any} horizontal spacing by hand, there may be some occasions 
+where you 
+will want to do it.  A command starting with {\tt X} initiates one of two 
+types of horizontal adjustment: A {\it shift} moves one or more 
+characters but does not affect any other spacing anywhere; a 
+{\it hardspace} inserts a fixed amount of space at a particular time and
+affects the horizontal positions of everything in all staves in the system. 
+If the command includes {\tt S}, it is a {\bfi s}{\it ingle} shift and affects 
+only the next note or rest.  If it includes a {\tt :} it either starts or 
+terminates a {\it group} shift.  
+All {\tt X} commands except group shift terminations 
+must include a decimal number for the size of the offset in notehead widths. 
+If the number is immediately followed by
+{\tt p}, then the number represents points, otherwise, notehead widths.
+If there is no such number but there is a {\tt :} the command 
+signals a group shift termination.  
+Group-shift commands must occur in 
+start/terminate pairs, and group shifts cannot extend across a bar line.
+
+An {\tt X} command containing neither {\tt S} nor {\tt :} is 
+automatically a hardspace.  
+
+Because horizontal spacing in parts will usually differ from that in the 
+score, by default the hardspace command will {\it not} be copied into parts 
+by {\bfx scor2prt}; however the shift commands will be copied.  
+These behaviors can be overridden using the methods to be described in 
+section~\ref{scor2prt},  Alternatively, \NEW{1.42} to help keep \PMX score 
+files neat 
+and readable, the character {\tt B} can be used within the {\tt X} command 
+to signify that it applies to {\bf b}oth score and part, or {\tt P} for
+{\bf p}art only.
+
+\subsubsection{Minimum spacing between notes in crowded systems}
+
+	\PMX does some special, complex analysis to adjust horizontal spacing 
+in crowded systems.  By default, the minimum space between consecutive 
+noteheads is 0.3 notehead widths.  In very special situations you may want to 
+change 0.3 to some other fraction. To do so, enter {\tt W. }(decimal point is required)
+ followed by {\tt 1}-{\tt 9} to represent the number 
+of tenths of a notehead width to be used as the minimum spacing. Use of this option 
+is demonstrated in the example file {\tt barsant.pmx}.
+
+\subsubsection{Page size}
+
+	The default page size is 740 by 524 pt (10.3 by 7.3 in).  To change 
+the height or width, use the special commands {\tt h}[{\it n}][{\it u}] or 
+{\tt w}[{\it n}][{\it u}] at 
+the beginning of the first input block.  Here {\it n} is a decimal number 
+for the new dimension and {\it u} defines the units; {\tt i} for inches, {\tt m} for 
+millimeters, and {\tt p} or nothing for points.  This command can be used 
+together with {\tt \%\%} or {\tt \%!} 
+(see section~\ref{scor2prt}) to give the parts made by 
+{\bfx scor2prt} different page sizes than the parent score.
+
+\subsubsection{Line, page, and movement breaks} \label{movbrk}
+
+	It is possible to force line, page, or movement breaks anywhere.  
+For a line break, just enter {\tt L}[{\it n}] at 
+the start of an input block (in the first voice only), and the {\it n}-th 
+system will start there.  To start page {\it m} at line {\it n}, enter 
+{\tt L}[{\it n}]{\tt P}[{\it m}].  You can't force a page break without 
+first forcing a line break.
+
+        To force a movement break, you must first force a line break as above,
+then enter {\tt M}.  If a page break also occurs here, the {\tt P} must precede 
+the {\tt M}.  Options following {\tt M} are {\tt +}[{\it integer}] to insert
+vertical space in \bs{\tt internote}s before the break, 
+{\tt i}[{\it decimal number}] to reset the first-line indentation as a fraction
+of the line width, and {\tt c}\NEW{1.41} to {\bf c}ontinue bar numbering rather 
+than resetting the bar number to 0 (which is the default). \NEW{1.4}Also, to 
+change the {\bf n}umber of instruments, 
+enter {\tt n}[{\it integer}], then the number of each instrument in their new
+order, then a clef-designating character for each staff of each instrument.   
+(An instrument's number is simply its position in the original sequence.)
+There can never be more than the original number of instruments. In this 
+instance, \NEW{2.5}two-digit instrument numbers must be preceded with 
+{\tt :} (colon). If you want to start with some number of instruments and 
+later increase it, you'll need to insert
+a dummy page at the beginning with the full set of instruments, then start the 
+second page with a movement break and decrease the number there. 
+
+Another\NEW{1.4} option after {\tt M} is {\tt r+} or {\tt r-}, which either 
+forces or 
+suppresses {\bf r}eprinting the instrument names.  The default is to print 
+them if the number of instruments changes, but otherwise not.
+
+      Immediately after a movement break, any desired meter changes, 
+key changes, or text can be entered in the normal way.
+
+\subsubsection{Blank gaps} \label{Gaps}
+
+A blank gaps can be insterted in the middle or at the end of almost any system. 
+The middle gap might be used to create a very short coda at the end of a 
+system. The end gap leaves the system shorter than the others. Both types 
+create a space that could be used for text comments.
+
+Both types of gapped systems are initiated by an option to an {\tt L} command at
+the beginning of the system in question. The syntax is 
+{\tt L}[{\it n}]{\tt S}[{\it x}] where [{\it n}] is the system number, 
+[{\it x}] is the fraction of the width of the system up to the beginning of the
+gap, and no brackets are to be entered. This must be soon followed by a normal
+{\tt L}[{\it n+1}] command to start the next line. With no intervening {\tt LC}
+command (see below), the system entered between the two {\tt L}'s will simply
+start at the left margin and be shortened to a length of {\it x} times the 
+default.
+
+To create a middle gap, begin as above with {\tt L}[{\it n}]{\tt S}[{\it x}]
+followed by the material to the left of the gap. Then enter {\tt LC}[{\it y}]
+to insert a gap followed by another segment of music extending to the end of
+the system. Here {\it y} is the fraction of the total system length occupied 
+by the second segment (so the fraction of the width occupied by the gap will 
+be 1-{\it x}-{\it y} ). The second segment must soon be followed by 
+{\tt L}[{\it n+1}] to start the next normal line. Obviously {\it x}+{\it y} 
+must be less than 1. 
+
+Normally a bar number will appear at the beginning of the second segment after 
+a gap. To suppress this, use {\tt LC}[{\it y}]{\tt n} to start the second 
+segment.
+
+If you want to insert text into the gap, one way is to use the text-dynamics 
+command after the last note before the gap: 
+{\tt D"}{\it text}{\tt "}[{\tt +},{\tt -}][{\it n}][{\tt +},{\tt -}][{\it m}] , where 
+{\it n} and {\it m} are the vertical and horizontal offsets from default 
+position. Some trial and error will always be needed here.
+
+In a system with a gap, the default barline at the end of one or two segments 
+of music will be a single bar unless the following line starts a new movement 
+in which case it will be a double bar. If you want to change either of these 
+segment-ending barline symbols to something else, then after the last note in 
+the lowest voice before the gap, you may use the normal ``repeat'' command,
+e.g. {\tt RD} for a thin-thick double bar, or with other options for different
+symbols as explained in \ref{Repeats}. If you use this option, it must be 
+immediately followed by a space and {\tt /} to end the input block. So in 
+particular if you have entered some text with the {\tt D} command, that must
+come before the {\tt R} command.
+
+Here is an example \PMX file incorporating the different types of gaps, 
+followed by the output it produces:
+
+%\pagebreak
+\begin{verbatim}
+1 1 2 4 2 4 0 -1
+1 9 20 .1
+Harp
+t
+.\
+h7.4i
+Abe
+h
+Movement 1
+f44 g a g f g a g /
+L2S.4
+f44 g a g a g D"\bigfont Hello"+8+8 /
+LC.4
+f44 g a g a g /
+L3
+f44 g a g f g a g /
+L4Mi.1+11
+h
+Movement 2
+f44 g a g f g a g /
+f44 g a g oC+1+6 f g a g /
+L6S.4
+f44 g a g a g 
+  D"\bigfont D.C. al"+10+6 D"\bigfont Coda"+4+6 RD /
+LC.4n
+f44 oC+2 D"\bigfont Coda"+18-8 g a g a g /
+L7Mi.1+11
+h
+Movement 3
+f44 g a g f g a g /
+f44 g a g f g a g /
+L9S.8
+f44 g a g a g D"\BIgfont The end"+6+11 /
+\end{verbatim}
+
+\includegraphics[scale=.7]{gapxmpl.eps}
+
+\subsubsection{Fractional bars}
+
+	Often if a piece starts with a pickup, the last bar may not be 
+complete.  In such cases, it is usually possible to 
+place the last bar in an input block by itself, headed by a {\it blind} meter 
+change.  
+For example, if the meter had been 4/4 and there was a quarter note 
+pickup, leaving 3 beats in the last bar, the last bar might be coded 
+{\tt m3400 cd24 /}.
+
+\subsubsection{Stem direction of bass notes}
+
+	By default \PMX makes stems go up for middle-line D's in bass 
+clef, but down for notes on the middle line of all other clefs.  If 
+you want middle-line bass-clef notes also to have downward stems by default, 
+enter a {\tt B} near the beginning of the file.
+
+\subsection{Putting {\TeX} Commands into the {\PMX}File } \label{LitTeX}
+
+        There are five ways to enter \TeX ~commands into the {\tt .pmx} file. 
+Four of
+them are {\it in-line}, where the commands are entered directly; the fifth
+is by way of an external file.
+
+	The four categories of in-line \TeX~strings 
+differ mainly in where they will appear in the {\tt .tex} file.  
+(A \TeX\ {\it string} consists of a starting character, a sequence of 
+\TeX~commands, and a terminal character). 
+In the {\tt .pmx} file, 
+only type 4 \TeX~strings may wrap over line breaks.  All in-line \TeX\ must 
+adhere to the 128-character limit per line, but each line can have more than 
+one \TeX\ command.
+Type 1 begins with a single \bs\ and will appear in the {\tt .tex} file 
+right before the \TeX 
+~command for the next note or rest in the {\tt .pmx} file. Multiple
+type 1 strings associated with the same note or rest are allowed, although 
+the total length may not exceed 128 characters (so there is generally no 
+reason not to combine all \TeX\ commands for a single note into a single 
+type 1 string). 
+
+A type 2 string begins with \bs\bs\ 
+and will appear near the top of the {\tt .tex} file, right before 
+\bs{\tt startmuflex}, regardless of where it appears in the {\tt .pmx} file.  
+A type 3 string starts with \bs\bs\bs\ and will appear right before the 
+{\tt\bs xbar}
+or {\tt \bs alaligne} at the beginning of the current input block, before the
+first barline of the block.  While individual type 2 and 3 strings may not wrap 
+over line breaks in the {\tt .pmx} file, strings of like type on consecutive 
+lines will appear together in the {\tt .tex} file.   
+Types 1, 2, and 3 strings must end with \bs\ (backslash-space). 
+This means that they may not contain
+the \TeX\ macro \bs\  (backslash-space).  Finally, each type 2 or 3 string
+should be isolated on a line of its own, and should be started in column 1.
+
+Type four permits multiple
+lines of arbitrary text to be entered at the top of the {\tt .pmx} file;
+they will be transferred verbatim to the top of the {\tt .tex} file.  Type
+four is initiated with {\tt ---} alone as the top line of the {\tt .pmx}
+file.  Then follows any text on any number of lines, until the next line
+starting with {\tt ---} terminates the block to be transferred.  
+
+The only other distinction among the types of in-line \TeX\ strings arises when 
+{\bfx scor2prt} is used to make separate parts 
+(see section~\ref{scor2prt}):
+types 2-4 will be copied into all parts, while type 1 only goes into its 
+original part. 
+
+If you should want to enter a type-1 (note-based) string longer than 
+128 characters, you could use a series of type-2 or -3 strings to define
+a \TeX\ macro containing the desired commands.  
+
+	\PMX provides one further option for entering an unlimited set of
+\TeX ~commands 
+just before \bs{\tt startmuflex}, and before any Type 2 in-line \TeX ~strings. 
+Simply put the commands into a text file named [{\it basename}]{\tt .mod} 
+in the texinput directory.  It will then automatically be 
+entered with an \bs{\tt input} command.  This feature is retained mainly for 
+backward compatibility; it has been essentially replaced by the various options
+for in-line \TeX ~strings.
+
+\subsection{Figured Bass}
+
+	Figure commands are entered {\it after} their associated note commands.  
+They only work in the first (lowest) voice, and in any one other voice\NEW{2.6}.
+Enter the characters as 
+they would appear from top to bottom, and as you might pronounce them, 
+e.g., {\tt 64} or {\tt 73}.  Flats here are {\tt -} (minus), sharps are 
+{\tt \#}, and 
+naturals {\tt n}, {\it before} the number (if there is a number) (notice
+the characters are different here than in notes).  
+So for example {\it sharp third} is {\tt \#3}, just a sharp is {\tt \#}, {\it six (over) 
+flat five} is {\tt 6-5}, and {\it sharp six (over) 4} is {\tt \#64}.  
+In addition to the symbols just described, the following special symbols
+are available: {\specfig 2}, {\specfig 4}, {\specfig 5}, {\specfig 6}, {\specfig 9} .
+\NEW{2.6}To use them, you must have the font 
+\href{http://www.icking-music-archive.org/software/musixtex/add-ons/figbas.zip}{\underline{\tt cmrj}}
+in your \TeX~system, and then just put an {\tt s} after the number.
+
+The program 
+positions all the figures for each system below the lowest staff of that 
+system, with their tops aligned, and just low enough to clear the 
+lowest beam, notehead, or stem that could interfere. If you would like to 
+change the vertical alignment for the remainder of the staff starting at a 
+figure after the first, \NEW{2.71}append {\tt v}[{\it n}], where {\it n} is an
+integer representing the vertical shift in \bs{\tt internote}s, which may
+have a minus sign.   
+
+If you want a figure to
+align horizontally in the second tier, insert the placeholder figure
+{\tt\_} (underscore) before the one you want lowered. This is equivalent to
+lowering the figure stack by 4 \bs{\tt internote}s.
+\NEW{2.6}If you want to {\it raise} the entire stack by an integral number of
+\bs{\tt internote}s, append {\tt +} and the number. This can be combined with 
+the placeholder figure {\tt\_} to provide full control over the vertical 
+position of the stack.
+
+	Sometimes you may need to enter a figure when there's no bass 
+note sounding.  To do this, just after the most recent bass note enter 
+{\tt x}, followed by a two single digits (the first is a repeat count; the 
+second a time value, i.e., {\tt 2,4,8,1,} or {\tt 3}), immediately followed by a figure symbol 
+as defined in the previous paragraph.  This will 
+offset the figure from the associated note by the specified time 
+value.  For example, if the lowest voice contained {\tt c03 x3465}, there 
+would be a whole-note c, and 3 quarter notes later a figure 65 below 
+the staff.
+
+	There is also a {\it continuation} command, a zero followed immediately 
+by another \NEW{2.4} 
+unsigned number.  This produces a horizontal line under the bass note, starting 
+just to the left and extending to the right by the given number of 
+\bs{\tt noteskip}s.  The height and length of the line are set by the current 
+note's level and \bs{\tt noteskip} respectively. These \NEW{2.4} can be mixed in with
+other figures to produce vertical stacks.  If another figure follows in the
+same command, use {\tt:} as a separator.  
+If \bs{\tt noteskip} changes or a note drops 
+below the starting level before the line ends, it is possible to trick 
+\PMX by entering separate {\tt 0}[{\it n}] commands under each consecutive note; \PMX 
+will automagically join them together at the same height 
+(thanks to Werner Icking for this idea).  
+
+	If there are figured bass commands in a {\tt .pmx} file but 
+you want them to be ignored, then enter the command {\tt F} at the 
+beginning of the body of the file.  This feature would most often be 
+used in the form {\tt \%1F} 
+(see section~\ref{scor2prt}), which makes a 
+separate bass part with no figures.
+
+        Figured bass commands will not be altered in any way under 
+transposition.  There is no universal set of interpretations of figured bass 
+symbols, so no automatic transposition is possible.
+
+\subsection{Macros}
+
+     A \PMX macro is a single command that stands literally for any 
+any string of characters that may occur in the input file (sorry, no 
+variables). It may be useful if you need to repeat the same string later.
+There is no practical length limit.    
+
+To 
+{\bfi r}{\it ecord} a macro, type {\tt MR}{\it n} where {\it n} is between 
+1 and 20.  
+Everything you then type will be processed normally as well as stored, 
+until you enter the command {\tt M}.  The next time you need to enter the same 
+string, just type {\tt MP}{\it n} to {\bf p}lay back the macro.  
+  
+To just {\bf s}{\it ave} a macro without having \PMX process it as you
+enter it, start it with {\tt MS}{\it n}.  
+
+Macros can be redefined at will.  \PMX will print a warning whenever this
+occurs.
+
+If you use macros and want to make separate parts, some care is necessary.
+{\bfx Scor2prt} will only transfer {\tt MR} macros into the part where they 
+originated, but will transfer {\tt MS} macros into all parts.
+
+\subsection{Include Files}\NEW{2.5}\label{ARDirective}
+{\it Include} files are separate text files 
+    containing arbitrary (but contextually appropriate) sequences of 
+    valid \PMX commands. By using the techniques described in this section, 
+    the commands in an include file can be inserted at any desired
+    place in the virtual \PMX file that the code processes.  
+    They will always be syntax-checked. 
+
+There are two types of include files, {\it global} and 
+    {\it normal}. There can only be one global include file and it must be named
+    {\tt pmx.mod}. If activated, its contents will always be inserted right after 
+    the setup data. 
+    To activate it, two conditions must be met: (1) an environment variable
+    {\tt PMXMODDIR} must be defined to contain a valid path, ending with {\tt /} or 
+    \bs~; (2) a file named {\tt pmx.mod} must be present in the directory so defined.
+    If {\tt PMXMODDIR} is not set, or if it is defined but there is no file 
+    {\tt pmx.mod}, then processing will proceed as usual. 
+
+    Normal include files 
+    can have any name and do not require any environment variable to be set. 
+    They are activated by the PMX command {\tt AR[{\it filename}]} , placed in the
+    .pmx file
+    at the location where the included lines are to go. It will generally 
+    only make sense to place this command at the beginning of an input block. 
+    \PMX will first check 
+    for the file as pointed to by [{\it filename}], which may contain a complete 
+    or partial pathname preceding the actual file name. If [{\it filename}] is not 
+    found, then \PMX will look for {\tt \%PMXMODDIR[{\it filename}]}, i.e., it will check 
+    the directory defined by {\tt PMXMODDIR} if {\tt PMXMODDIR} has been set. However, 
+    it is not necessary to define {\tt PMXMODDIR} to use a 
+    normal include file. There may be any number of normal include files. The same 
+    file may be used multiple times. Include files cannot contain references to 
+    other include files via the {\tt AR} command; if you try to do that 
+    your computer will 
+    explode. The following information regarding all activated include 
+    files will be printed both to the screen and to the .pml file: notice of 
+    opening or closing, echo of the contents, error messages pertaining to syntax 
+    errors in the included \PMX commands, and an error message if \PMX cannot find 
+    a referenced normal include file. In the latter two cases \PMX will stop. 
+
+\subsection{Batch Processing}
+
+Due \NEW{2.0} to the number of different programs that must be run in sequence 
+to produce a printed sheet of music with the \MusiXTeX{} system, most users 
+prefer to use a batch script to control the process.  Since batch commands are
+platform-dependent we will not provide examples here, but will mention
+several \PMX features that can facilitate batch processing. 
+
+First, whenever {\bfx pmxab} terminates due to a syntax
+error, the exit code is set to 1.  There are various ways of detecting this
+with batch commands, then acting accordingly.  
+\NEW{1.4} Second, {\bfx pmxab} always writes a file 
+{\tt pmxaerr.dat} containing a single number: 0 if it exited normally, 
+otherwise the line number in the {\tt .pmx} file where the syntax
+error was.  With advanced batch programming techniques, this file can be 
+opened and read, and if there was an input error, a text editor can be 
+opened and the input point placed on the line with the error.  
+
+There have been several requests to allow \PMX to keep running even 
+after it detects an input error.  
+This has not been done because in many cases any error messages after
+the first one would be meaningless, or worse, uncorrected errors could 
+cause crashes.  In any event, all the output from {\bfx pmxab} will be
+stored in the log file [{\it jobname}]{\tt.pml}.
+
+%\setcounter{secnumdepth}1
+\section{Making Parts from a Score} \label{scor2prt}
+
+	Separate parts can be made by running {\bfx scor2prt} and entering the 
+basename when prompted. The program will create {\tt noinst} separate 
+{\tt .pmx} files, one for each instrument. By default the files will be named
+[{\it basename}][{\it n}]{\tt .pmx}, where [{\it n}] 
+is the sequential position of the instrument. If desired, part file names can
+be customized with {\tt AN} as described in section~\ref{ANDirective}.
+
+	In this section we describe how to control the layout of the 
+parts separately from that of the score, but by using commands 
+that are placed in the {\tt .pmx} file for the score.  This eliminates the 
+need for ever editing the {\tt .pmx} files for the parts separately.  You 
+can make all corrections in the file for the score, and then re-run 
+{\bfx scor2prt}.
+
+	Normally all lines starting with {\tt \%} in the parent {\tt .pmx} are 
+transferred into all the parts.  However, if a line has {\tt \%\%} in 
+columns 1-2, both it {\it and the following line} will be ignored when 
+making parts.  If the ignored line contains only {\tt h}~, {\tt l}~,
+ {\tt Tc}~, {\tt Ti}~, or {\tt Tc} to start, 
+then one additional line will be ignored.  
+
+	Conversely, if a line begins with {\tt \%!} then it will be ignored as 
+usual in creating the parent {\tt .tex} file, but after stripping the first 
+2 characters the rest will be put in the {\tt .pmx} file for {\it all} the 
+parts.  
+
+To enter a line into the score file that is only to be transferred to one part,
+begin the line with \NEW{2.6} {\tt\%}{\it h}, where {\it h} is an {\it extended
+hexadecimal digit} representing the part number from 1 to 24 
+({\tt1,2,...,9,a,b,c,...,n,o}).  The first 
+two characters will then be stripped and the rest transferred to the desired part.
+For example, to force a line break to system 15 and a page 
+break to page 2 in part 11 only, enter {\tt \%bL15P2}. The use of the extended hex 
+digits {\tt a-o} creates a potential incompatibility with prior versions.  
+To minimize this, the
+character after ``{\tt\%}" will {\it only} be interpreted as a part number if 
+it represents a number less than or equal to {\tt noinst}; otherwise the entire
+line will be treated as an ordinary comment and transferred to all parts as
+a comment.  
+
+	Although only permitted in the first voice in the score, the 
+following commands with all their options will automatically be copied 
+into all parts (unless the preceding line has {\tt \%\%}):
+ {\tt m, V, R, A, h, w, K}.  Literal \TeX\ strings of types 2-4 will also be 
+copied into all parts, while type 1 will only go into its original part.
+
+User-defined hardspaces ({\tt X} without {\tt :}) are handled specially.  By
+default they are not copied into parts.  There are two ways to circumvent this.
+One way to insert hardspace {\it x} into part 
+{\it n} is to place in the score, on a line of its own, the command 
+{\tt\%}[{\it n}]{\tt X}[{\it x}] .  The \NEW{1.42} other way is with options 
+in the {\tt X} command in the score: {\tt B} causes the hardspace to be
+used in {\bf b}oth score and parts; {\tt P} puts it into the {\bf p}art but not
+the score.
+
+Instrument-wise \NEW{2.7} transposition commands (see section \ref{transpose})
+are also handled specially. 
+When {\bfx scor2prt} encounters {\tt Ki}[{\it n}] (for instrument {\it n}) in
+the score, it transfers the transposition information (transposition amount and 
+key signature) for that instrument into
+the corresponding part, replacing {\tt Ki} by {\tt K} and keeping only the 
+information for instrument {\tt n}.
+
+Lateral shifts ({\tt X}[$\dots$]{\tt :}) will be handled normally,
+staying with their original voice.
+
+	By default the total number of systems in each part will be the 
+same as in the score.  If you want to override this, there is a command 
+{\tt S}[{\it n}] (where {\it n} is the desired number of systems), which 
+can only appear at 
+the beginning of the first input block.  This can be used after {\tt \%!} 
+to affect all the parts, or after {\tt \%}[{\it h}] to affect just part {\it h}. 
+ {\bfx Scor2prt} will also 
+compute how many pages it thinks each part should have, and enter that 
+in the startup data for that part.  If you wish to override that, then 
+in the {\tt .pmx} file for the score, insert for example {\tt \%3S14P2} to 
+force the third part to have 14 systems and 2 pages (you cannot override the 
+number of pages without first overriding the number of systems).  
+
+        A \NEW{2.0} musicsize of 20 is the default in all parts.  This may be 
+overridden with the option {\tt m} in the command {\tt S}; e.g., 
+{\tt \%2S15m16} .
+
+	As already noted, a {\tt P} command for page numbering in the parent 
+file is ignored when making parts.  To initiate page numbering in the 
+parts, use for example {\tt \%!P} anywhere within the \PMX code representing 
+the first page of the parts (from \TeX 's standpoint the command must occur 
+between the beginning and end of the page on which the numbering is to begin). 
+It \NEW{2.0} will often be useful in this case to use the option {\tt c} , 
+which by default causes the instrument name to be centered in small type at 
+the top of every page after the first.  
+
+Note the distinctions among the various usages of {\tt P}: as an option with 
+{\tt S}, it sets the total number of pages in a part; as an option with 
+{\tt L}, it forces a page break; and as a command on its own, it controls page 
+numbering and centered headings.
+
+MIDI \NEW{2.2} commands, i.e., those starting with {\tt I}, will never be 
+copied into parts, unless they are in a special comment line as just described.
+
+	One function of {\bfx scor2prt} is to condense consecutive bars of rest 
+into a single group of special printed characters with a number above it.    
+The command {\tt rm} defines such a {\bf m}ulti-bar {\bf r}est as described 
+in section~\ref{MultibarRest}. 
+{\bfx Scor2prt} will automatically insert {\tt rm} commands into the 
+{\tt .pmx} files 
+for the parts where appropriate.  However, for this feature to work, 
+the {\it first} full-bar rest in the sequence {\it must} have its duration 
+explicitly defined in the parent {\tt .pmx} file, either with a digit or 
+with {\tt p}.  I.e., the feature will not work if the first rest in the 
+sequence inherits its duration from the previous note.
+
+Using the special \PMX commands listed in this section, 
+augmented where needed with literal \TeX ~commands, it is possible to store 
+{\it all} the information for both the score and the parts in a single 
+{\tt .pmx} file.  This greatly simplifies the editing process, since 
+both the score and the part can be corrected at once, and parts need not be
+re-edited each time they are regenerated from the score.
+
+\section{Making MIDI Files}\label{MIDI}
+
+\PMX has an elementary capability to create MIDI files. It is intended mainly 
+to aid in editing scores, so it does not have advanced facilities one would 
+want for making musically satisfying sound files.
+
+As \NEW{2.6} of version 2.6, \PMX can only generate MIDI files for scores with 
+15 or fewer voices. 
+
+Entering the command {\tt I} before any notes have been entered 
+will cause a MIDI file [{\it jobname}]{\tt.mid} to be 
+generated in the current directory.  Options may follow, without spaces.  They
+are defined in the following paragraphs.  Multiple 
+options can be combined in one {\tt I} command.  
+{\tt I} commands can appear later in the file as well, but only at the start 
+of an input block.  Sometimes the order of the 
+options matters, determining for example whether or not a user-defined pause 
+is included inside a macro block.  
+
+{\tt t}{\it x} sets the tempo to {\it x} quarter notes per minute. 
+Default is 96.  You can change tempos as often as you like, but only at the
+start of an input block (as with all MIDI commands).
+
+{\tt i}{\it i1i2...in} assigns MIDI instruments {\it i1,i2,...,in} to the
+respective \PMX instruments. The default is harpsichord, of course.  If
+you use this option, you must specify {\it all} instruments.
+Each {\it in} is either 
+a 2-letter abbreviation or an integer between 1 and 255. Acceptable 
+abbreviations are listed below.  Numbers and pairs of letters may be mixed, 
+but consecutive pairs of numbers must be separated by {\tt :} (colon) .  
+This option can only be exercised once per file. 
+Also, the number of instruments cannot change during a piece.
+
+The \NEW{2.7} number of arguments following suboption {\tt i}, as well as the next 
+three described suboptions, must in fact equal the number of {\it instruments}. Before
+version 2.7, it was the number of {\it staves} (despite the incorrect 
+description in the manual!) These numbers may differ and this creates a
+backward incompatibility. Hoping this won't cause too much distress, 
+I've enhanced the real-time error messages. 
+
+{\tt v}{\it i1}:{\it i2}:{\it...}:{\it in} assigns MIDI \NEW{2.3} velocities 
+to each instrument.  The colons are required.  Values may range from 1 to 127. 
+The default is 127.  
+
+{\tt b}{\it i1}:{\it i2}:{\it...}:{\it in} assigns MIDI \NEW{2.3} balances to 
+each instrument.  The colons are required.  Values may range from 1 to 128. 
+The default value is 64, which represents the center.  Smaller numbers favor 
+the left stereo channel; larger ones the right.
+
+{\tt T} allows transposing any instrument by a selected number of steps \NEW{2.7}
+ ({\tt\bs internote}s). 
+It must be followed by exactly {\tt noinst} signed integers representing the
+amount of transposition for each instrument in order. In practice it is useful 
+in two situations (1) To transpose a MIDI output up or down by one octave 
+(7 {\tt\bs internote}s); and (2) when a transposing instrument is printed 
+in the transposed key in the score after having issued {\tt Ki}, to undo 
+the transposition in the MIDI.
+
+{\tt M} initiates a macro operation.  This is used for repeats, da capo's, etc.  
+Macros must have ID numbers between 1 and 20.  Operations are start record
+macro {\it i}:  {\tt MR}{\it i} ; end recording: {\tt M} ; and playback (insert)
+macro {\it i}: {\tt MP}{\it i} .  Only one macro can be active at a time, 
+recording or playing but not both.  If you try nesting or overlapping macros, 
+your computer will become psychotic.
+
+{\tt p}{\it x} inserts a pause of {\it x} quarter notes.  Decimals are 
+allowed, but will be rounded to the nearest sixteenth note.
+
+{\tt g}{\it i} sets the MIDI gap to {\it i} MIDI clock tics.  This is a silence 
+inserted at the end of every note, while decreasing the sounding duration 
+by the same amount.  The default is 10, which is 2/3 of a 64th note.
+
+      The MIDI module does not recognize graces, ornaments, repeats, voltas, or 
+segnos.  The only ties that are recognized are those using {\tt s} or {\tt (} 
+alone, with no explicit ID number.  Key signatures,
+time signatures (meter) and instrument names will be written into the MIDI file, 
+the latter as track names.  This will have no effect whatsoever on audible 
+output but will affect on-screen appearance of some MIDI file players 
+and editors.  Location of the \PMX key-change and meter-change commands 
+relative to MIDI macro delimiters in the source will affect (in the obvious
+way) how these data are passed to such programs.
+
+The MIDI file generator does not yet support changing the number of 
+instruments in midstream.  Doing so will cause unpredictable results.
+
+      The instruments are a subset of ``The General MIDI Instrument 
+Specification." Of course how they sound depends on your hardware and software. 
+Instruments not listed below can still be used but must be specified by number.  
+The numbers listed here are from the 1-128 range; when passed to the MIDI file 
+they are reduced by one.
+
+%\def\toc#1#2{\hbox to 3.1in{{#2}\leaderfill{#1}}}
+\def\tentry#1#2#3{\hbox to 2in{
+\hbox to .24in{\tt #1\hfill}\hbox to 1.7in{#2 (#3)\hfill}\hss}} 
+
+\null
+\hbox to 6.5in{\vbox to 1.7in{
+\tentry{pi}{Acoustic Grand Piano}{1}
+\tentry{rh}{Rhodes Piano}{5}
+\tentry{ha}{Harpsichord}{7}
+\tentry{ct}{Clavinet}{8}
+\tentry{ma}{Marimba}{13}
+\tentry{or}{Church Organ}{20}
+\tentry{gu}{Acoustic Nylon Guitar}{25}
+\tentry{ab}{Acoustic Bass}{33}
+\tentry{vl}{Violin}{41}
+}\hss\vbox to 1.7in{
+\tentry{va}{Viola}{42}
+\tentry{vc}{Cello}{43}
+\tentry{cb}{Contrabass}{44}
+\tentry{vo}{Synth Voice}{55}
+\tentry{tr}{Trumpet}{57}
+\tentry{tb}{Trombone}{58}
+\tentry{tu}{Tuba}{59}
+\tentry{fr}{French Horn}{61}
+\tentry{so}{Soprano Sax}{65}
+}\hss\vbox to 1.7in{
+\tentry{al}{Alto Sax}{66}
+\tentry{te}{Tenor Sax}{67}
+\tentry{bs}{Baritone Sax}{68}
+\tentry{ob}{Oboe}{69}
+\tentry{ba}{Bassoon}{71}
+\tentry{cl}{Clarinet}{72}
+\tentry{fl}{Flute}{74}
+\tentry{re}{Recorder}{75}
+}}
+
+\section{Limits}
+
+For simplicity in writing the program, \PMX has numerous variables with
+fixed dimensions.  In most cases there are no checks against these limits
+(hey, I've got more important things to program), so
+occasionally there may be hangups due to exceeding a dimension.  
+Any of these can potentially be increased by making a request via the 
+mailing list.  However, before making such a
+request, try working around the problem by 
+breaking the input into smaller blocks.  
+
+\subsection{Limits on quantities that a user can control}  
+
+(The user can control the {\it number} of these items, but cannot control
+the {\it limit on the maximum number} of them.)
+
+128 characters per input line.
+
+24 \NEW{2.6} staves.
+
+2 voices per staff.
+
+24 \NEW{2.6} voices per system.
+
+125 systems.
+
+600 bars.
+
+40 forced line breaks.
+
+10 forced page breaks.
+
+18 key changes.
+
+75 \NEW{2.78} pages.
+
+600 \NEW{2.6} notes per input block.
+
+15 bars per input block.
+
+101 slurs per input block. 
+
+74 figures (figured bass) per input block.
+
+37 grace note groups per input block.
+
+74 notes in grace note groups per input block.
+
+52 literal \TeX\ strings per input block.
+
+6 voltas per input block.
+
+24 \NEW{2.6} trills per input block.
+
+62 chordal notes (non-spacing) per input block.
+
+8 beams per voice per bar.
+
+40 \NEW{2.5}forced beams per voice per input block.
+
+10 clef changes per voice per input block.
+
+24 notes per beam.
+
+24 notes per xtuplet.
+
+41 text-dynamic strings per input block.\NEW{2.5}
+
+9600 \NEW{2.78} lines in input file
+
+\subsection{Limits not under immediate user control}
+
+% Need all the spaces because this damn format insists on left-justifying
+% first line of *first* paragraph in a section..
+%
+\ \ \ \ \ \kern6pt 131072 \NEW{2.78} bytes in the entire input file
+
+20 \bs{\tt notes} groups per bar.
+
+20 inserted standard anti-collision spaces (not xtuplet or end-of-bar) per bar.
+
+20 inserted anti-collision spaces within xtuplets per bar.
+ 
+19 inserted anti-collision end-of-bar hardspaces per system.
+
+83 inserted anti-collision end-of-bar hardspaces.
+
+400 inserted standard anti-collision spaces per system.
+
+100 inserted anti-collision spaces within xtuplets per system.
+
+1000 inserted standard anti-collision spaces.
+
+200 inserted anti-collision spaces within xtuplets.
+
+24576 \NEW{2.2} bytes of MIDI output data per voice.
+
+\section{Closing Notes}
+
+\subsection{About the Example Files}
+
+{\tt most.pmx} contains examples of most of the \PMX commands, and a few
+programming tricks, including examples in the last line of beam groups whose
+notes vary widely in pitch.  The printed
+output displays the \PMX commands near to the resulting typeset characters.  
+It is more
+useful to look at the printed output rather than the source file, since the
+file is littered with in-line \TeX ~needed to output the text strings 
+representing the \PMX commands.
+{\bfx WARNING:} Do not try to play this music; it could be hazardous.
+
+{\tt barsant.pmx} contains the first movement of a recorder sonata by the
+Italian Francesco Barsanti (1690-1772).  It demonstrates many of \PMXX 's
+strong points in a ``battlefield'' situation:  figured
+bass, complex beaming patterns, xtuplets, and  
+automatically adjusted horizontal and vertical spacing in crowded scores.  
+In fact, 
+this single-page score pushes the limits of vertical and horizontal crowding. 
+To get the final result, it makes subtle adjustments using various available options: 
+{\tt Ae} for equal space between systems, {\tt AI1.1} to increase the vertical 
+space between staves in a system, {\tt Apl} to activate postscript slurs and 
+special treatment of line-breaking slurs/ties (note slur at end of fourth
+system), and {\tt W.5} to increase minimum space between noteheads so the 64th
+notes don't touch each other. This is also a 
+good score to try making parts with {\bfx scor2prt}. A special command
+{\tt \%2S9} is used to increase the number of systems in the recorder part. 
+
+{\tt mwalmnd.pmx} is an Allemand for harpsichord by the German 
+Matthias Weckmann 
+(1616-1674).  It uses many techniques peculiar to keyboard scores, most notably
+two voices per staff.
+
+{\tt prad5.pmx} {\tt netsoos.pmx} are examples of how to enter lyrics purely in \PMX.
+They include several inline \TeX\ commands to enhance the layout.
+
+{\tt staffcrossall.pmx}\NEW{2.74} contains examples of staff-crossing chords. Some are 
+single-stemmed, some are beamed non-xtuplets, and finally beamed xtuplets.
+
+{\tt dyntest.pmx} contains examples showing the default vertical positions of dynamic marks.
+
+\subsection{A Benign Bug} 
+
+	When \TeX 'ing the output of \PMX you will usually get an {\tt Underfull 
+\bs vbox} message at the end of each page.  This is due to my using 
+\bs{\tt eject} at the end of every page, which automatically spaces the 
+systems vertically without having to fiddle with \bs{\tt staffbotmarg}.  As far
+as I know, the 
+warning is benign, and may be ignored. 
+
+\subsection{Where to Get Help} \label{where}
+
+The main home of \PMX on the internet is the software section of the 
+\href{http://icking-music-archive.org}{\underline{Werner Icking Music Archive}}. This
+site also links to a mailing list devoted to \MusiXTeX\ and related programs including 
+\PMX. The denizens of this list are always willing to answer questions about any 
+aspect of the software. New users are strongly advised to take advantage of this
+resource.
+
+\subsection{Acknowledgments}
+
+	To Daniel Taupin, Ross Mitchell, and Andreas Egler for creating 
+\MusiXTeX{}; to Olivier Clary for suggesting a crucial modification in 
+the note-entry scheme; 
+to my colleague John DiPol (a non-musician!) for the idea of using binary masks 
+to define beam groupings; 
+to Joel Hunsberger for unraveling some deep \MusiXTeX~tangles;
+to Dirk Laurie
+for making \PMX accessible to vocal music by creating {\tt\bs pmxlyr} 
+and {\bfx M-Tx};
+to Stanislav Kneifl and Hiroaki Morimoto for developing the postscript
+slur packages; to 
+Christian Mondrup, Andre Van Ryckeghem, Christof Biebricher, Joerg Anders,
+Olivier Vogel, and other denizens of the TeX-music mailing list
+for first-class bug-finding and support in responding to queries about
+\PMX on the mailing list; to Luigi Cataldi, Olivier Vogel, Christof 
+Biebricher, and Cornelius Noack for producing translated and enhanced 
+\PMX tutorials; and to Bob Tennent for maintaining the software section
+of the web site.
+Finally, I want to mention again the invaluable contributions by 
+Werner Icking: his exhaustive beta testing, 
+uncanny bug-finding, continuing encouragement, and promotion 
+of \PMX right up until his sudden and premature departure from this
+earthly realm. 
+
+\end{document}
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