From 2bf4584651f41552f403ac593ff57eaf6db72222 Mon Sep 17 00:00:00 2001 From: Karl Berry Date: Wed, 16 Dec 2015 22:14:04 +0000 Subject: m-tx (16dec15) git-svn-id: svn://tug.org/texlive/trunk@39119 c570f23f-e606-0410-a88d-b1316a301751 --- Master/texmf-dist/doc/generic/m-tx/README | 51 - Master/texmf-dist/doc/generic/m-tx/borup.mtx | 20 + Master/texmf-dist/doc/generic/m-tx/buildmtxdoc.lua | 59 + Master/texmf-dist/doc/generic/m-tx/chord.mtx | 10 + Master/texmf-dist/doc/generic/m-tx/dertod.mtx | 9 + Master/texmf-dist/doc/generic/m-tx/docversion | 1 + Master/texmf-dist/doc/generic/m-tx/dona.mtx | 19 + Master/texmf-dist/doc/generic/m-tx/dwoman.mta | 4 + Master/texmf-dist/doc/generic/m-tx/dwoman.mtb | 3 + Master/texmf-dist/doc/generic/m-tx/halleluja.ltx | 74 + Master/texmf-dist/doc/generic/m-tx/halleluja.pdf | Bin 0 -> 139024 bytes .../texmf-dist/doc/generic/m-tx/hallelujashort.ltx | 22 + Master/texmf-dist/doc/generic/m-tx/kanons.ltx | 12 + Master/texmf-dist/doc/generic/m-tx/kanons.pdf | Bin 0 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Master/texmf-dist/doc/generic/m-tx/volta.mtx (limited to 'Master/texmf-dist/doc/generic') diff --git a/Master/texmf-dist/doc/generic/m-tx/README b/Master/texmf-dist/doc/generic/m-tx/README deleted file mode 100644 index 661754100f6..00000000000 --- a/Master/texmf-dist/doc/generic/m-tx/README +++ /dev/null @@ -1,51 +0,0 @@ -This is M-Tx (Music-from-TeXt), version 0.60d (2013-12-24). - -M-Tx is a preprocessor for PMX that facilitates inputting lyrics. It -builds the PMX input file based on a language very similar to PMX. M-Tx -includes most of PMX's functionality, but it also permits in-line PMX -commands to give access to virtually all of PMX. - -The author of M-Tx is Dirk Laurie (dpl@sun.ac.za). - -To install (on TDS-compliant TeX systems): - - + unzip tex-archive/install/m-tx.tds.zip at the root of a texmf tree and, - if necessary, update the filename database; e.g., texhash texmf. - Documentation for M-Tx is installed under doc/generic/tmx. You must use - an unzipping program that converts text files to the text-file format of - your platform, such as "unzip -a ... " on Linux. - - + *either* copy the executables appropriate for your - platform (Windows, OSX) to a folder on the executable PATH - and ensure it has execute permission - - + *or* on any Unix-like system with gcc and standard development tools - installed: unpack mtx-0.60d.tar.gz (anywhere), move to the resulting - mtx-0.60d directory, and do - - ./configure [--prefix=$HOME] - make (or make -f Makefile.orig if you have fpc installed) - make install (as root, if necessary) - - Then install a symbolic link m-tx in any directory on the executable - PATH to scripts/m-tx/m-tx.lua - -Documentation for M-Tx and the wrapper script is installed under - -doc/generic/m-tx - -Many examples of M-Tx and MusiXTeX typesetting may be found at the Werner -Icking Music Archive at - -http://icking-music-archive.org/ - -Support for users of MusiXTeX and related software may be obtained via -the MusiXTeX mail list at - -http://tug.org/mailman/listinfo/tex-music - -M-Tx may be freely copied, duplicated and used in conformance to the -GNU General Public License (Version 2, 1991, see included file gpl.txt). - -This CTAN distribution is maintained by Bob Tennent (rdt@cs.queensu.ca). -Dec. 12th, 2013 diff --git a/Master/texmf-dist/doc/generic/m-tx/borup.mtx b/Master/texmf-dist/doc/generic/m-tx/borup.mtx new file mode 100644 index 00000000000..d67cbf24fb6 --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/borup.mtx @@ -0,0 +1,20 @@ +Meter: 3/4 +Title: Song of May +Flats: 1 +Style: Singer +Systems: 2 +Space: 10 +TeX: \let\endpiecesav\endpiece +TeX: \def\endpiece{\endpiecesav\input lyrics \input notes} + +( d4 e ) g | ( d e ) g | ( f e ) f | d2 r4 | +L: In ver-na-lis tem-po-ris +L: Dum re-ces-sum fri-go-ris + +( f g ) a | ( a g ) f | g2d | g2 r4 :|: g2 d4+ | d2 d4 | ( d c ) b | a2 r4 | +L: or-tu lae-ta-bun-do, ter-rae, ma-ris, ne-mo-ris +L: nun-ti-at hi-run-do, vi-gor re-dit cor-po-ris, + +g2 a4 | ( b a ) g | ( f e ) f | d2 r4 | ( f g ) a | ( a g ) f | g2d | g2 r4 :| +L: de-cus ad-est de-fo-ris re-no-va-to mun-do, +L: ce-dit do-lor pec-to-ris tem-po-re iu-cun-do. diff --git a/Master/texmf-dist/doc/generic/m-tx/buildmtxdoc.lua b/Master/texmf-dist/doc/generic/m-tx/buildmtxdoc.lua new file mode 100755 index 00000000000..6d4cb2b6e35 --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/buildmtxdoc.lua @@ -0,0 +1,59 @@ +#! /usr/bin/texlua +-- buildmtxdoc.lua © Dirk Laurie 2015 MIT license +-- Build M-Tx documentation from scratch. + +local project = {halleluja = "-t kroonhom loofnou -f -q -p halleluja"; +kanons = "-t viva dona sanctus -f -q -p kanons"; +mtxdoc = "-t borup chord dertod dwoman macro".. +" melisma1 melisma2 melisma3 melisma4 melisma5 melisma6".. +" meter mozart mozart0 netfirst netsoos1 netsoos2 psalm42 title title1 volta".. +" -f -x -q -p mtxdoc"} + +local sys = function(...) + print(...) + return(os.execute(...)) +end + +local cat = function(target,...) + local result = io.open(target,'w') + for k=1,select('#',...) do + for line in io.open((select(k,...))):lines() do + result:write(line,"\n") + end + end + result:close() +end + +local make_examples = function() + cat("dwoman.mtx","dwoman.mta","dwoman.mtb") + for k=1,2 do + mtxname = ("netsoos%d.mtx"):format(k) + cat(mtxname,"netsoos.mta",("netsoos%d.mtb"):format(k)) + end + for k=1,6 do + mtxname = ("melisma%d.mtx"):format(k) + cat(mtxname,"melisma.mta",("melisma%d.mtb"):format(k)) + end +end + +local build_project = function(target) + if target == "mtxdoc" then + make_examples() + end + sys("musixtex -q "..project[target]) +end + +-- Main program + +if type(arg)~='table' or not arg[1] then build_project"mtxdoc" +elseif project[arg[1]] then build_project(arg[1]) +else print[[ +This is buildmtxdoc version 0.1. +Usage: [texlua] buildmtx.lua [project] +Projects: + mtxdoc + halleluja + kanons + +If no project is specified, "mtxdoc" is built.]] +end diff --git a/Master/texmf-dist/doc/generic/m-tx/chord.mtx b/Master/texmf-dist/doc/generic/m-tx/chord.mtx new file mode 100644 index 00000000000..a5b0ca6a798 --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/chord.mtx @@ -0,0 +1,10 @@ +Style: Organ +Meter: C +Flats: 1 + +{ cs0 c }{ c }{ c } +C: {e{g{b {e{g{b {e{g{b egb +{ cs0 c }{ c }{ c } +C: {e{g{b {e{g{b {e{g{b egb +{ cs0- c }{ c }{ c } +C: {b+ {b+ {b+ b+ diff --git a/Master/texmf-dist/doc/generic/m-tx/dertod.mtx b/Master/texmf-dist/doc/generic/m-tx/dertod.mtx new file mode 100644 index 00000000000..26cbd7b43e8 --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/dertod.mtx @@ -0,0 +1,9 @@ +Style: PianoBass +PianoBass: Voices RH LH; Clefs F F; Continuo +Meter: C/ +Flats: 1 + + f2 g4 e | f2 a4 a | a2 f4 e | f2 f4 e | f2 g4 e | f2 a4 a | a2 f4 e | +C: ad bd gd+ ad gle+ f+ gle+ ad acs ad d+ gd+ ad bd gd+ ad gle+ f+ gle+ ad acs + d2 d4 d | d2 d4 a | a2 a4 a | a2 d4 d | d2 d4 d | d2 d4 a | a2 a4 a | +C: d- d- d- d- d- d a- a- a- d- d- d- d- d- d- d- d- d a- a- a- diff --git a/Master/texmf-dist/doc/generic/m-tx/docversion b/Master/texmf-dist/doc/generic/m-tx/docversion new file mode 100755 index 00000000000..62807fd0a93 --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/docversion @@ -0,0 +1 @@ +grep 'def\\versionname' mtxdoc.ltx | sed -e "s/.*{\(.*\)\.\(.*\)}.*/\1\2/" diff --git a/Master/texmf-dist/doc/generic/m-tx/dona.mtx b/Master/texmf-dist/doc/generic/m-tx/dona.mtx new file mode 100644 index 00000000000..2921ad5a387 --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/dona.mtx @@ -0,0 +1,19 @@ +Title: Dona Nobis Pacem +Flats: 1 +Meter: 3/4 +Style: Singer +Bars/line: 8 +Size: 20 + +U: !bf 1 +@+3 [ f8 c ] a2+ [ g8 c- ] b2+ ( a4 g ) f f e2 ( d4+ c8 b ) [ a g ] ( c4.b ) a ( a8 g f4 e ) f2d +L: Do-na no-bis pa-cem, pa-cem, do-na no-bis pa-cem, + +U: 2 +c2d+ cd ( c4 b ) a a g2 d4+ d2 c4 c2 ( c8 b a4 g )+5 f2d +L: do-na no-bis pa-cem, do-na no-bis pa-cem, + +U: 3 +@=+1 f2d ed ( f4d g8 ) [ a b ] c4 c2- b4+ b2 a4 a2 ( e8 g c4 c- ) f2d +L: do-na no-bis pa-cem, do-na no-bis pa-cem. + diff --git a/Master/texmf-dist/doc/generic/m-tx/dwoman.mta b/Master/texmf-dist/doc/generic/m-tx/dwoman.mta new file mode 100644 index 00000000000..77f00c576b4 --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/dwoman.mta @@ -0,0 +1,4 @@ +Style: Singer +Meter: 3/4 + +%% w80m diff --git a/Master/texmf-dist/doc/generic/m-tx/dwoman.mtb b/Master/texmf-dist/doc/generic/m-tx/dwoman.mtb new file mode 100644 index 00000000000..c9003cbf5bf --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/dwoman.mtb @@ -0,0 +1,3 @@ +e f g ( a2d a ) (" g8 f ) (" e4 e ) +L: She is a dan-ge-rous wo-man +L: You'll get a bro--ken heart_ diff --git a/Master/texmf-dist/doc/generic/m-tx/halleluja.ltx b/Master/texmf-dist/doc/generic/m-tx/halleluja.ltx new file mode 100644 index 00000000000..86a8538e3e6 --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/halleluja.ltx @@ -0,0 +1,74 @@ +\documentclass[a4paper]{article} +\usepackage{mtxlatex,times} +\mtxlatex +\pagestyle{headings} +\title{ {\Huge Halleluja!\\ [2ex]} + {\Large\textit{Anthems for unaccompanied church choir (SATB)}\\ [5ex]}} +\author{\Large Edited by Dirk Laurie} +\date{} +\let\Writebarno\writebarno +\begin{document} + \maketitle + \thispagestyle{empty} + \tableofcontents + \section*{} % Foreword +The scores in this booklet were edited from nearly illegible photocopies +of crudely duplicated manuscripts, themselves made by inexpert copyists +from unknown originals in the days before photo-copying machines existed. +Any remaining errors are the responsibility of the editor. + +Unfortunately the available sources did not specify who the composers +and lyrics writers of these anthems are. +\pagebreak + +\def\writebarno{\vbox to 24pt{}{\Writebarno}} +\begin{Score} {Kroon Hom!} {kroonhom} \end{Score} +\def\writebarno{\vbox to 16pt{}{\Writebarno}} +\begin{Score} {Loof nou die Heer} {loofnou} \end{Score} + + \section*{Technical notes} +The score was typeset by the editor using his own \MTx\ typesetting program, +which in turn relies on the programs \PMX\ by Don Simons, \texttt{musixlyr.tex} +by Rainer Dunker, MusiX\TeX\ by Daniel +Taupin \textit{et al.}, \LaTeX\ by Leslie Lamport and \TeX\ by Donald Knuth. + + \section*{The lyrics} +Here is a literal translation of the words of the first anthem. +\begin{verse} + \begin{center} Crown Him! \end{center} +Crown Him! Crown Him! Crown Him! \\ +Around the throne of God on high rejoices a crowd of people, +a crowd redeemed of sin and guilt. \\ +And crown Him as your Lord. \\ +Bring praise and thanks and glorify his Name and crown Him as your Lord. \\ +The promise of the Second Coming and the Advocacy of the Spirit causes men and +the Creation to wait hopefully for eternal freedom. \\ +One day corn and chaff will be separated. \\ +He will lead us in freedom. \\ +Throw all your sorrows before Him and crown Him as your Lord. \\ +Let every person, every nation on this earth praise Thee. \\ +Unto Him eternal praise and glory and crown Him as your Lord. \\ +O ye that are chosen, come and assemble before his feet. \\ +Join everyone in eternal song and crown Him as your Lord. \\ +Amen. +\end{verse} + +The second anthem is a translation of Psalm 150. Rather than +an attempt at rendering that version into English, here are the +relevant verses from the Authorised Version (King James Bible). +\begin{verse} + Praise ye the \textsc{Lord}. Praise God in his sanctuary: praise +him in the firmament of his power. \\ + Praise him for his mighty acts: praise him according to his excellent +greatness. \\ + Praise him with the sound of the trumpet: praise him with the psaltery +and harp. \\ + Praise him with the timbrel and dance: praise hom with stringed instruments +and organs. \\ + Praise him upon the loud cymbals: praise him upon the high sounding +cymbals. \\ + Let every thing that hath breath praise the \textsc{Lord}. + Praise ye the \textsc{Lord}. +\end{verse} +\end{document} + diff --git a/Master/texmf-dist/doc/generic/m-tx/halleluja.pdf b/Master/texmf-dist/doc/generic/m-tx/halleluja.pdf new file mode 100644 index 00000000000..df6c1c28990 Binary files /dev/null and b/Master/texmf-dist/doc/generic/m-tx/halleluja.pdf differ diff --git a/Master/texmf-dist/doc/generic/m-tx/hallelujashort.ltx b/Master/texmf-dist/doc/generic/m-tx/hallelujashort.ltx new file mode 100644 index 00000000000..344df1490ae --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/hallelujashort.ltx @@ -0,0 +1,22 @@ +\documentclass[a4paper]{article} +\usepackage{mtxlatex,times} +\mtxlatex +\pagestyle{headings} +\title{ {\Huge Halleluja!\\ [2ex]} + {\Large\textit{Anthems for unaccompanied church choir (SATB)}\\ [5ex]}} +\author{\Large Edited by Dirk Laurie} +\date{} +\let\Writebarno\writebarno +\begin{document} + \maketitle + \thispagestyle{empty} + \tableofcontents +\pagebreak + +\def\writebarno{\vbox to 24pt{}{\Writebarno}} +\begin{Score} {Kroon Hom!} {kroonhom} \end{Score} +\def\writebarno{\vbox to 16pt{}{\Writebarno}} +\begin{Score} {Loof nou die Heer} {loofnou} \end{Score} + +\end{document} + diff --git a/Master/texmf-dist/doc/generic/m-tx/kanons.ltx b/Master/texmf-dist/doc/generic/m-tx/kanons.ltx new file mode 100644 index 00000000000..2ea3440009c --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/kanons.ltx @@ -0,0 +1,12 @@ +\documentclass{article} +\usepackage{mtxlatex,charter} +\mtxlatex +\pagestyle{empty} +\renewcommand{\writebarno}{\rule{0pt}{12pt}} +\begin{document} + \begin{excerpts} +\input{dona.tex} \vskip 8mm +\input{sanctus.tex} \vskip 8mm +\input{viva.tex} \newpage + \end{excerpts} +\end{document} diff --git a/Master/texmf-dist/doc/generic/m-tx/kanons.pdf b/Master/texmf-dist/doc/generic/m-tx/kanons.pdf new file mode 100644 index 00000000000..ae063fba427 Binary files /dev/null and b/Master/texmf-dist/doc/generic/m-tx/kanons.pdf differ diff --git a/Master/texmf-dist/doc/generic/m-tx/kroonhom.mtx b/Master/texmf-dist/doc/generic/m-tx/kroonhom.mtx new file mode 100644 index 00000000000..cca8c4e84e0 --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/kroonhom.mtx @@ -0,0 +1,144 @@ +Title: Kroon Hom! +Flats: 2 +Style: SATB +Pages: 3 +Systems: 14 +Space: 0 4 +Height: 280mm +Width: 193mm + +% 0 +f | b2 r4 b | d2 r4 d | { f0 | f2 } r4 || f- | fd f8 [ g a ] [ b c ] | +L: Kroon Hom, kroon Hom, kroon Hom! Rond-om die troon van +f | d2 r4 f | g2 r4 g | (-4 b2 a4 g | a2 )-4 r4 || c- | dd d8 e4 e | +f | b2 r4 d | d2 r4 d | (+2 d2 c4 b | c2 )+2 r4 || f- | bd b8 b4 b | +f | b2- r4 b+ | b2 r4 b | { f0 | f2 } r4 || a- | b2 e4 g | + +% 5 +d4 d d e | d [ c8 b ] c4d b8 | b2d b4 | +L: God om-hoog juig steeds 'n men-se-skaar, 'n +f fs g g | f f fd f8 | f2d b4 | +b c b c | b b a a | b0 | +b a g c- | f f f e | (-6 d f8 e d c )-6 d4 | + +% 10 +[ a8 g ] [ a b ] c4 c | [ b8 a ] [ b c ] d4 [ c8 b ] | [ a b ] c4 a g | +L: skaar ver-los van sond' en skuld. En kroon Hom as u +f f f fs | g g g g | f f f e | +c2 a4 d | c2 b4 c | c a c b | +@-6 e2 e4 d | g2d e4n | f2 c | +L: skaar los van sond', en kroon Hom + +% 13 +f2d |: f4 | [ b8 c ] [ d c ] b4 f | g2d g4 | [ c8 d ] [ e d ] c4 g | a2d f4 | +L: Heer, en kroon hom as u Heer, en kroon Hom as u Heer. Bring +c2d |: [ f8 e ] | [ d e ] [ f e ] d4 d | e2d f4r | [ e8 f ] [ g f ] e4 e | f2d f4 | +a2d |: f4 | f b f b | b2d b4n | c c g c | c2d a4 | +fd |: f4 | b2d- b4 | [ e8 f ] [ g f ] e4 d | c2d c4 | [ f8 g ] [ a g ] [ f g ] [ f e ] | +L: Heer, en kroon, en kroon Hom as u Heer, kroon Hom as Heer. Bring + +% 18-19 +b c d e | fd b8- a4 g | fd f8 [ a g ] [ f e ] | +L: lof en dank en prys sy Naam en kroon Hom as u +g a b b | bd f8 f4 cs | dd d8 e4 c | +b f+ f e | bd b8 b4 b | bd b8 [ c b ] a4 | +d4 f b g | dd d8 e4 en | fd f8 f4 [ f8 fs ] | + +% 20-23 +d2d f4 | (+6 g c8 b a4 d8 c | b4 e d )+5 c | +L: Heer. En kroon Hom +b2d f4+ | (-2 e g f a | b c b )-2 g | +b2d b4 | (+6 b e8 d c4 f8 e | d4 f2 )+4 e4 | +g4 g- (-8 g8+ f e d | e d c4 f8 e d4 | g a b )-6 e- | +L: ~ En kroon Hom + +% 24- +%%L5 +b2 a | bd :| d4 | dd d8 c4 b a g fsd d8 g4 a b c d2d r4 +L: as u Heer. Be-lof-te van die We-der-koms en Voor-spraak van die Gees +f2 f | fd :| f4s | g4d g8 g4 g en e dd d8 | d4 d d g | f2sd r4 +d2 ( c4 e ) | d2d :| d4 | b b c c cs c d [ a8 fs ] | g4 fs g g | a2d r4 +f2 f2 zf- | b2d :| d4 | g g e g a a d- d | b a g e+ | d2d r4 + +d c8 b a4 g c f- en d [ c8 f ] [ g a ] g4d f8 f2d r4 +g g8 g f4 en f c c cr c c end c8 c2d r4 +L: laat mens (en) skep-ping hoop-vol wag om e-wig vry te wees. +b c c c c f- g g f en c+ b a2d r4 +g en f [ c8 b ] a4 a c b a b c c f2d r4 + +fs8 f4 f8 g4 g a a8 a b4 b c8 c4 c8 b4 c d2d d4 dd d8 d c b af +d8 d4 d8 d4 d d d8 d d4 f f8 f4 f8 f4 f f2d f4s g4d g8 f e d f +L: Een-maal word kaf en ko-ring ge-skei. Hy sal ons in vre-de lei. Werp al jou sor-ge voor Hom +a4 a g2 fs g4 b a a b a b2d a4 b b ad b8 | +d c b2 a g4 d+ f e d c b2d d4 g g b- b | +L: Een-maal kom Hy weer, hy sal in vre-de lei. Werp al jou sor-ge + +g2d g4 ad g8 fs4 g a2d of f4 +e2d e4 en e d d d2d f4 +L: neer, (en) kroon Hom as u Heer. En +b0 | a4 a a g fs2d fn4 +e0 | cs4 c [ d8 cn ] b4 a2d ofd f4+ + +[ b8 c ] [ d c ] b4 f g2d g4 [ c8 d ] [ e d ] c4 g a2d f4 +[ d8 e ] [ f e ] d4 d e2d f4r [ e8 f ] [ g f ] e4 en f2d f4 +L: kroon Hom as u Heer, en kroon Hom as u Heer. Bring +f b f b b2d bn4 c c g c c2d a4 +b2d- b4 [ e8 f ] [ g f ] e4 d c2d c4 [ f8 g ] [ a g ] [ f g ] [ f e ] | +L: kroon, en kroon Hom as u Heer, kroon Hom as Heer. Bring + +b c d e fd b8- a4 g fd f8 [ a g ] [ f e ] +f a b b bd f8 f4 cs dd d8 e4 c +L: lof en dank en prys sy Naam en kroon Hom as u +b f+ f e bd b8 b4 b bd b8 [ c b ] a4 +d4 f b g | dd d8 e4 en | fd f8 f4 [ f8 fs ] + +d2d f4 (+8 g c8 b a4 d8 c b4 e d )+6 c b2 c +L: Heer. En kroon Hom as u +b2d f+4 g [ c8 b ] a4 [ d8 c ] b4 e d f- f2 en +b2d f4 g [ c8 b ] a4 [ d8 c ] b4 e d c d2 ( c4 b ) +g2d f4 (-2 g c8 b a4 d8 c b4 e d )-6 a g2 c- + +fd- f4 fd f8 [ g a ] [ b c ] d4 d d e d [ c8 b ] c4d b8 +fd c4 dd d8 e4 e f fs g g f f f f +L: Heer. Laat al-le men-se, el-ke volk op hier-die aard U +a2d f4 b b b b b c b c b b a a +f2d a4- b b e g b a g c- f f f e + +b2d b4 [ a8 g ] [ a b ] c4 c +f2d f4 f f f fs +L: loof. Aan Hom die eew'-ge +b2d b4 c c a d +( d f8 e d c )-6 d4 e e e d + +[ b8 a ] [ b c ] d4 b [ a8 b ] c4 a g +g g g g f f f en +L: lof en eer, en kroon Hom as u +d d b c c a c b +g2d en4 f2 c +L: lof, en kroon Hom + +f2d g4 [ a8 b ] [ c d ] e4 en f2d of f4- +c2d f4r [ f8 g ] [ a b ] a4 b a2d d4- +L: Heer. En kroon Hom as u Heer. O +a2d b4 f+ f f c c2d b4 +f2d g4 [ c8 d ] [ c b ] c4 c f2d- ofd b4- + +b b b c d [ c8 b ] c4 f- g f8 e d4 f +f g f f f en f f e b8 b b4 c +L: die wat uit-ver-ko-re is, kom skaar jul-le voor sy +b b b a b b a b b b8 g f4 a +d e d f b g f d e d8 e f4 f + +b2d f4 b b b c d [ c8 b ] c4 f- b2 b d d +d2d d4 f f f f f en f [ f8 ef ] [ d e f g ] f2 ( g4d a8 ) b2 +L: voet. Voeg al-mal saam in eew'-ge sang, en kroon Hom, kroon Hom, +b2d b4 b b b a b g a a b2d [ d8 c ] [ b c d c ] [ b c d e ] +b2d- b4 d e d f b- c f f [ b8- c d e ] [ d f b a ] [ g a b a ] [ g a b c ] + +f f d e d c b0 b b of +@+2 b2 b b g b f f0 g f +L: kroon Hom, kroon Hom, as u Heer! A-men. +f2 d f e [ f8 d c b ] a2 d0 e d +%[ d b a g ] [ f e d c ] [ b c d b ] [ e b d e ] f2 f zf- b0 e b ofd +[ d b a g ] [ f e d c ] [ b c d b ] [ e b d e ] f2 f zf- b0 e b ofd + diff --git a/Master/texmf-dist/doc/generic/m-tx/loofnou.mtx b/Master/texmf-dist/doc/generic/m-tx/loofnou.mtx new file mode 100644 index 00000000000..18fb5ca410d --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/loofnou.mtx @@ -0,0 +1,105 @@ +Title: Loof nou die Heer +Composer: Psalm 150 +Style: SATB +Pages: 2 +Systems: 10 +Space: 2 +Height: 280mm +Width: 193mm + +g e8.g c2 | c4 b8.a g2 | +e c8.e e2 | a4 g8.f e2 | +L: Loof nou die Heer, loof nou die Heer, +c+ g8.c c2 | c4 c8.c c2 | +c c8.c c2 | f4 f8.f c2 | + +g8 g c d e.e e4 | e8 e d c d.d d4 | +e8 e g g g.g g4 | g8 g g fs g.g g4 | +L: loof Hom in Sy hei-lig-dom, loof Hom in Sy hei-lig-dom, +c8 c c b c.c c4 | c8 c d c b.b b4 | +c8 c e g c.c c4 | c8 c b a g.g g4 | + +d8 d c b c4 g8 g | b4 a g g of | +g8 g g f e4 g8 g | g4 fs g fne | +L: loof Hom in die uit-span-sel van Sy sterk-te. +b8 b c g g4 e+8 e | d4 c b b | +g8 f e d c4 c8 c | d4 d g g ofd | + +g8 g e g c.c c4 | c8 c b a g.g g4 | +e8 e c e e.e e4 | a8 a g f e.e e4 | +L: Loof Hom om Sy mo-\"end-heid, loof Hom om Sy mo-\"end-heid, +c8 c g c g.g [ g8 c ] | c8 c c c c.c c4 | +c-8 c c c c.c c4 | f8 g a br c.c- c4 | + +U: | ~ ~ ~ ~ !bf ~~~~~~Fine +c8 c d d e c a d | c8 c b b c2 of |] +g8 g g g g g f a | g8 g f f e2 |] +L: loof Hom na die groot-heid, na die groot-heid van Sy krag. +c8 c b b c c c f | e8 e d d c2 |] +e8 e g g c e- f d | g8 g g g c-2 ofd |] + + r0 | r0 | e8.e e e d4 b8 g | a0e | +d8.d d d d4 d8 d | b+2 g | g8.g g g g4 g8 g | (-6 g4 f8s e f2 )-6 | +L: Loof Hom met die klank van ba-sui-ne, loof Hom met die luit en die harp; + r0+4 | r0+4 | c8.c c c d4 d8 cs | d0 | +d8.d d d d4 d8 d | b+2 g | c8.c c c b4 g8 e | d0 | + +b8.b b b c4 d8 d | e2 g | d8 cs d g- b4 a8.g | g0e +g8.g g g g4 g8 g | g2 g | g8 g g g g4 fs8.g | ( g2 fn ) +L: Loof Hom met die klank van ba-sui-ne, loof Hom met die luit en die harp; +d8.d d d c4 b8 b | c2 as | b8 as b cs d4 c8.b | b0 +g8.g g fn e4 d8 d | c2 cs | d8 e d e d4 d8.g | g0 + +%% L6P2 +Space: 3 +|: g8.g g g g4 g8 g | g8 e+ c a g2 | +|: e8.e e e f4r f8r fr | e8 g e ds e2 | +L: loof hom met die trom-mel, die trom-mel en die fluit. +|: c8.c c c b4 b8 b | c8 c g fs g2 | +|: c-8.c c c d4 d8 d | c8 c c c c2 | + +@+8 (+8 g8 a b d f4- )+8 f | (+9 e8 g c g e4 )+7 e | +LS: Loof Hom, loof Hom +d4 f d2 | c4 e c2 | +L: Loof die Heer, loof die Heer; +b4 b b2 | g4 g g2 | +g4+ g g2 | c-4 c c2 | + +g8.g g g g4 g8 g | g8 e+ c a g2 | +e8.e e e f4r f8r fr | e8 g e ds e2 | +L: loof hom met die trom-mel, die trom-mel en die fluit. +c8.c c c b4 b8 b | c8 c g fs g2 | +c8.c c c d4 d8 d | c8 c c c c2 | + +f8 g b d f d b g | c2 c :| +f8 fr f f f f f fr | ( e4 ds ) e2 :| +L: Loof die Heer met sna-re-spel en or-rel. +b8 b b b b b b b | ( c4 a ) g2 :| +g8+ g g g g g g g | c-2 c :| + +r0 | r0 | c4 c8 d e e d c | d2 d | +r0 | r0 | e4 g8 g g g g fs | g2 g | +@^-3 a4 a8.a c.c a4 | e2 e2 | g4 c8 b c c b c | (+6 c4 b8 a )+6 b2 | +L: Loof Hom met sim-bel-spel, loof Hom, loof Hom met klin-ken-de sim-ba-le. +a+4 a8.a c.c a4 | e2 e2 | c4 e8 g c c g a | g2 g | + +e4 d8.d c4 b8.b | a4 g8.g f2 | +g4 f8.f e4 g8.g | f4 e8.e d2 | +L: Al-les wat a-dem, kom loof, loof die Heer; +c4 b8.b c4 c8.c | c4 a8.a b2 | +c4 g8.g a4 e8.e | f4 cs8.c d2 | + +f+4 e8.e d4 c8.c | b4 a8.a g2 | +g4 g8.g a4 a8.a | g4 fs8.f g2 | +L: al-les wat a-dem, kom loof, loof die Heer; +b4 c8.c c4 d8.d | d4 c8.c b2 | +d4 e8.e f4 fs8.f | g4 d8.d ( g4 fn ) | + +U: | | | ~~D.C.~al~Fine +g+4 f8.f e4 d8.d | c4 b8.b a4 of f+8.f | e4 [ c8.e ] g4 b- | c0 :| +g4 g8.g g4 f8.f | e4 g8.g f4 a8.a | g4 g g g | e0 :| +L: al-les wat a-dem, kom loof, loof die Heer; Hal-le-lu-ja, loof die Heer. +c4 c8.c c4 c8.c | c4 c8.c c4 c8.c | c4 [ e8.c ] b4 d | c0 :| +e d8.d c4 g+8.g | a4 e8.e f4 ofd d8.d | g4 g g g | c-0 :| + + diff --git a/Master/texmf-dist/doc/generic/m-tx/lyrics.tex b/Master/texmf-dist/doc/generic/m-tx/lyrics.tex new file mode 100644 index 00000000000..d9ee84a1ee5 --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/lyrics.tex @@ -0,0 +1,14 @@ +% -------- file lyrics.tex --------------------------------------- +\vskip 8 mm +\halign{\hskip 35 mm # \hfill & \hskip 25 mm \it # \hfill \cr +In vernalis temporis & In the time when \cr +ortu laetabundo, & spring rises joyfully, \cr +dum recessum frigoris & the end of frost \cr +nuntiat hirundo, & is heralded by the swallow, \cr +terrae, maris, nemoris & earth, sea and grove \cr +decus adest deforis & is full of beauty \cr +renovato mundo, & like a renewed world, \cr +vigor redit corporis, & the body regains strength, \cr +cedit dolor pectoris & the sorrow of the heart ends \cr +tempore iucundo. & in this playful time \cr +} diff --git a/Master/texmf-dist/doc/generic/m-tx/m-tx.html b/Master/texmf-dist/doc/generic/m-tx/m-tx.html deleted file mode 100644 index ec976065e2e..00000000000 --- a/Master/texmf-dist/doc/generic/m-tx/m-tx.html +++ /dev/null @@ -1,191 +0,0 @@ -Content-type: text/html - -Manpage of m-tx - -

m-tx

-Section: (1)
Updated: 2013-12-11
Index -Return to Main Contents
- -

-  -

NAME

- -m-tx - This script processes mtx files then deletes intermediate files -

-  -

SYNOPSIS

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

-

-  -

OPTIONS

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

-

-  -

SEE ALSO

- -prepmx(1) - -pmxab(1) - -scor2prt(1) - -etex(1), - -latex(1), - -pdfetex(1), - -pdflatex(1), - -musixflx(1), - -dvipdfm(1), - -pmxchords(1), - -dvips(1), - -ps2pdf(1). - -
- -mtx260.pdf -

-  -

AUTHOR

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

- -

- 

Index

-
-
NAME
-
SYNOPSIS
-
OPTIONS
-
SEE ALSO
-
AUTHOR
-
-
-This document was created by -man2html, -using the manual pages.
-Time: 22:12:01 GMT, December 11, 2013 - - diff --git a/Master/texmf-dist/doc/generic/m-tx/macro.mtx b/Master/texmf-dist/doc/generic/m-tx/macro.mtx new file mode 100644 index 00000000000..f75ac802447 --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/macro.mtx @@ -0,0 +1,15 @@ +Style: Woodwind Violins +Woodwind: Voices FlObCl; Clefs G +Violins: Voices Violini; Clefs G +Flats: 1 +Meter: C +Enable: countMacro + +MS1 c8+ za zf zc M [u MP1 MP1 MP1 MP1 ] [u MP1 MP1 MP1 MP1 ] +r2 r4 r8 b1n d + +[u MP1 MP1 MP1 MP1 ] [u MP1 MP1 MP1 MP1 ] +c8 b1n d c8 b1 d c4.a + +[u MR3 c8+ zb zg ze zc M MP3 MP3 MP3 ] [u MP1 MP1 MP1 MP1 ] +a1 g g a b8 g1 a1 f4d r8 diff --git a/Master/texmf-dist/doc/generic/m-tx/melisma.mta b/Master/texmf-dist/doc/generic/m-tx/melisma.mta new file mode 100644 index 00000000000..755806431ce --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/melisma.mta @@ -0,0 +1,5 @@ +Style: Singer +Meter: C +Start: @+2 +Width: 2in + diff --git a/Master/texmf-dist/doc/generic/m-tx/melisma1.mtb b/Master/texmf-dist/doc/generic/m-tx/melisma1.mtb new file mode 100644 index 00000000000..3f36f53124b --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/melisma1.mtb @@ -0,0 +1,2 @@ +( c8 d1 e1 d8 e1 f1 ) e2 | +L: A-men diff --git a/Master/texmf-dist/doc/generic/m-tx/melisma2.mtb b/Master/texmf-dist/doc/generic/m-tx/melisma2.mtb new file mode 100644 index 00000000000..d35cbcc5288 --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/melisma2.mtb @@ -0,0 +1,2 @@ +[ c8 d1 e1 d8 e1 f1 ] e2 | +L: A-men diff --git a/Master/texmf-dist/doc/generic/m-tx/melisma3.mtb b/Master/texmf-dist/doc/generic/m-tx/melisma3.mtb new file mode 100644 index 00000000000..70973365b6c --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/melisma3.mtb @@ -0,0 +1,2 @@ +( [ c8 d1 e1 d8 e1 f1 ] ) e2 | +L: A-men diff --git a/Master/texmf-dist/doc/generic/m-tx/melisma4.mtb b/Master/texmf-dist/doc/generic/m-tx/melisma4.mtb new file mode 100644 index 00000000000..73a6efb78ee --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/melisma4.mtb @@ -0,0 +1,3 @@ +%% \\let\BM\beginmel\let\EM\endmel\ +[[ \BM\ c8 d1 e1 ] [[ d8 e1 \EM\ f1 ] e2 | +L: A-men diff --git a/Master/texmf-dist/doc/generic/m-tx/melisma5.mtb b/Master/texmf-dist/doc/generic/m-tx/melisma5.mtb new file mode 100644 index 00000000000..4d6dafa134c --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/melisma5.mtb @@ -0,0 +1,2 @@ +[ c8 d1 e1 ] [ \nolyr\ d8 e1 f1 ] e2 | +L: A-men diff --git a/Master/texmf-dist/doc/generic/m-tx/melisma6.mtb b/Master/texmf-dist/doc/generic/m-tx/melisma6.mtb new file mode 100644 index 00000000000..85a0e3a162f --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/melisma6.mtb @@ -0,0 +1,3 @@ +@-3 (" [ c8 \lyr\ d1 e1 ] [ d8 e1 f1 ] ) e2 | +L: Hal-le-lu-ja +L: A---men diff --git a/Master/texmf-dist/doc/generic/m-tx/meter.mtx b/Master/texmf-dist/doc/generic/m-tx/meter.mtx new file mode 100644 index 00000000000..5a9c887bc1c --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/meter.mtx @@ -0,0 +1,10 @@ +Style: Piano +Meter: m3406 +Width: 100m +TeX: \def\upiii#1{\raise3\internote\hbox{{#1}}} +TeX: \def\chacarera{\meterfrac34\upiii{\Big(}\meterfrac68\upiii{\Big)}} +TeX: \let\oldmeterC=\meterC \let\meterC=\chacarera + +a-2d o> a8 r r a r r a2d o> | +C: dfsa cea cea dfsa +d-2d o>-15 a4 a { [h d8 {1 d+ ] d2d }1 zd- } | diff --git a/Master/texmf-dist/doc/generic/m-tx/mozart.mtx b/Master/texmf-dist/doc/generic/m-tx/mozart.mtx new file mode 100644 index 00000000000..f16b5eb4b36 --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/mozart.mtx @@ -0,0 +1,7 @@ +Title: Riff in C +Composer: W. A. Mozart (1756--1791) +Style: piano +Width: 120mm + +c2+ e4 g | b4d- c1 d c2 | +c8 g+ e g c- g+ e g | d g f g c- g+ e g | diff --git a/Master/texmf-dist/doc/generic/m-tx/mozart0.mtx b/Master/texmf-dist/doc/generic/m-tx/mozart0.mtx new file mode 100644 index 00000000000..b6538192716 --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/mozart0.mtx @@ -0,0 +1,2 @@ +c2+ e4 g | b4d- c1 d c2 | +c8 g+ e g c- g+ e g | d g f g c- g+ e g | diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx-install.pdf b/Master/texmf-dist/doc/generic/m-tx/mtx-install.pdf index 92b9d756b99..05310c3e74e 100644 Binary files a/Master/texmf-dist/doc/generic/m-tx/mtx-install.pdf and b/Master/texmf-dist/doc/generic/m-tx/mtx-install.pdf differ diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx-install.tex b/Master/texmf-dist/doc/generic/m-tx/mtx-install.tex index 08649ab19b3..5e391dee3da 100644 --- a/Master/texmf-dist/doc/generic/m-tx/mtx-install.tex +++ b/Master/texmf-dist/doc/generic/m-tx/mtx-install.tex @@ -5,7 +5,7 @@ \RequirePackage{hyperref} \usepackage{xcolor} \newcommand{\myurl}[1]{\textcolor{blue}{\underline{\textcolor{black}{\url{#1}}}}} -\newcommand{\mtxVersion}{0.60d} +\newcommand{\mtxVersion}{0.61} \begin{document} \title{Installation of the CTAN M-Tx Distribution} \author{Bob Tennent\\ @@ -35,8 +35,8 @@ and installing files\footnote{% \section{Installing \texttt{m-tx.tds.zip}} In this distribution of M-Tx, many of the files to be installed -(including macros, documentation, and a wrapper script \verb\m-tx.lua\) are in -\texttt{tex-archive/install/m-tx.tds.zip} at CTAN. The file +(including macros and documentation are in +\myurl{http://mirror.ctan.org/install/m-tx.tds.zip}. The file \verb|mt-x.tds.zip| is a zipped TEXMF hierarchy; simply download it and unzip in the root folder/directory of whichever TEXMF tree you decide is most appropriate, likely a ``local'' or ``personal'' one. @@ -65,8 +65,8 @@ the one essential file that can't be installed in a TEXMF tree: the \texttt{prep On Windows systems, one can install \texttt{prepmx.exe} -in the \texttt{Windows} sub-directory; this is a pre-compiled -executable and should be copied to any +in the \texttt{Windows/32bit} or \texttt{Windows/64bit} sub-directory; these are pre-compiled +executables and should be copied to any folder on the PATH of executables. This might entail creating a suitable folder and adding that folder to the PATH as follows: @@ -126,38 +126,15 @@ This step should be executed as root if you need super-user privileges. You should now have an executable \verb\prepmx\ in your PATH. -\section{The Processing Script} - -The Lua script \verb\.../scripts/m-tx/m-tx.lua\ -is simply a convenient wrapper that -by default runs the following processes in order (and then deletes intermediate files): -\begin{itemize}\topsep=0pt\itemsep=0pt -\item \verb\prepmx\ (pre-pre-processing pass) -\item \verb\pmxab\ (pre-processing pass) -\item \verb\etex\ (1st pass) -\item \verb\musixflx\ (2nd pass) -\item \verb\etex\ (3rd pass) -\item \verb\dvips\ (to convert \verb\dvi\ output to Postscript) -\item \verb\ps2pdf\ (to convert \verb\ps\ output to Portable Document Format) -\end{itemize}% -There are many options to vary the default behaviour. - -On a Unix-like system (with \texttt{luatex} installed), you can put a -symbolic link to \texttt{m-tx.lua} in any directory on the executable PATH as follows: -\begin{list}{}{} -\item \verb\ln -s m-tx\ -\end{list} -On Windows, install -the batch script -\begin{list}{}{} -\item \verb|Windows\m-tx.bat| -\end{list} -to a folder -on the executable PATH. - -Documentation for the \verb\m-tx\ script is in the -\verb\doc/generic/m-tx/scripts\ directory. +\section{Usage} +To process an M-Tx source file, use the \verb|musixtex| script +which is included in the \verb|musixtex| package. +If applied to a file with \verb|.mtx| extension, it will by default execute \verb|prepmx| followed by +\verb|pmxab|, followed +by \verb|etex|, \verb|musixflx|, and \verb|etex| again, followed by +conversion to PDF using \verb|dvips| and \verb|ps2pdf|. +There are many options to vary the default behaviour. \section{Discussion} diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060.pdf b/Master/texmf-dist/doc/generic/m-tx/mtx060.pdf deleted file mode 100644 index 317c1daddd9..00000000000 Binary files a/Master/texmf-dist/doc/generic/m-tx/mtx060.pdf and /dev/null differ diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/Makefile b/Master/texmf-dist/doc/generic/m-tx/mtx060/Makefile deleted file mode 100644 index c99862d03d0..00000000000 --- a/Master/texmf-dist/doc/generic/m-tx/mtx060/Makefile +++ /dev/null @@ -1,113 +0,0 @@ -PREPMX = ./prepmx -include make-target - -sources = mtxdoc.tex mtxdoc.sty mtxlatex.sty mozart0.mtx mozart.mtx\ - netfirst.mtx meter.mtx notes.tex lyrics.tex mtxindex.tex\ - dertod.mtx volta.mtx title.mtx title1.mtx psalm42.mtx netsoos1.mtb \ - netsoos2.mtb borup.mtx melisma1.mtb dwoman.mtb \ - melisma2.mtb melisma3.mtb melisma4.mtb melisma5.mtb melisma6.mtb \ - dwoman.mta melisma.mta netsoos.mta kroonhom.mtx loofnou.mtx \ - viva.mtx dona.mtx sanctus.mtx halleluja.ltx kanons.ltx chord.mtx \ - macro.mtx - -examples = mozart0.tex mozart.tex netfirst.tex meter.tex \ - dertod.tex volta.tex title.tex title1.tex psalm42.tex netsoos1.tex \ - netsoos2.tex borup.tex melisma1.tex dwoman.tex \ - melisma2.tex melisma3.tex melisma4.tex melisma5.tex melisma6.tex \ - chord.tex macro.tex - -halleluja_pieces = kroonhom.tex loofnou.tex - -kanons_pieces = viva.tex dona.tex sanctus.tex - -%.tex: %.mtx - $(PREPMX) $* - pmxab $* - rm $*.pml $*.pmx pmxaerr.dat - -DOC: mtx.$(target) - -mtxdoc.$(target): mtxdoc.tex mtxdoc.sty $(examples) - touch mtxdoc.mx1 - rm *.mx? - - $(latex) mtxdoc - musixflx mtxdoc - makeindex mtxdoc - - $(latex) mtxdoc - - $(latex) mtxindex - rm mtxdoc.log mtxdoc.idx mtxdoc.ilg mtxindex.log mtxindex.aux - -%.mtx: %.mta %.mtb - cat $*.mta $*.mtb > $*.mtx - -melisma%.mtx: melisma.mta melisma%.mtb - cat melisma.mta melisma$*.mtb > melisma$*.mtx - -netsoos%.mtx: netsoos.mta netsoos%.mtb - cat netsoos.mta netsoos$*.mtb > netsoos$*.mtx - -once: mtxdoc.tex mtxdoc.sty $(examples) - - $(latex) mtxdoc - -index: mtxdoc.idx mtxindex.tex - makeindex mtxdoc - $(latex) mtxindex - -%.$(target): %.ltx - - rm $*.mx?; $(latex) $*.ltx; musixflx $*; $(latex) $*.ltx - -kanons.$(target): kanons.ltx $(kanons_pieces) - -halleluja.$(target): halleluja.ltx $(halleluja_pieces) - -all: mtxdoc.$(target) kanons.$(target) halleluja.$(target) mtxindex.$(target) - -config: - @echo "Configuring mtxdoc Version `./docversion`" - @echo "Looking for prepmx ... `which prepmx`" - ln -sf `which prepmx` . - @echo "Looking for pmxab ... `which pmxab`" - @echo "Looking for musixflx ... `which musixflx`" - @echo "Looking for musixtex ... `kpsewhich musixtex.tex`" - @echo "Looking for musixlyr ... `kpsewhich musixlyr.tex`" - @echo "Looking for $(latex) ... `which $(latex)`" - @echo "Looking for $(concat) ... `which $(concat)`" - -pdftarget: - ln -sf make-pdf make-target - - -dvitarget: - ln -sf make-dvi make-target - -paperus: - echo \\def\\paperUS{} > mypaper.tex - -papera4: - echo \\def\\paperA4{} > mypaper.tex - -mtxdocus.$(target): paperus mtxdoc.$(target) - mv mtxdoc.$(target) mtxdocus.$(target) - -mtxdoca4.$(target): papera4 mtxdoc.$(target) - mv mtxdoc.$(target) mtxdoca4.$(target) - -ps: mtxdoc.ps halleluja.ps kanons.ps mtxindex.ps - -pdf: mtxdoc.pdf halleluja.pdf kanons.pdf mtxindex.pdf - -mtx.pdf: mtxdoc.pdf mtxindex.pdf - ./pdfcat -a -o mtx.pdf -i "mtxdoc.pdf mtxindex.pdf" - -mtx.dvi: mtxdoc.dvi mtxindex.dvi - dviconcat -o mtx.dvi mtxdoc.dvi mtxindex.dvi - -support = docversion Makefile make-dvi make-pdf make-target pdfcat - -Dzip: - - @zip -ju mtxD`./docversion` $(sources) $(support) README - -bare: - rm $(examples) $(halleluja_pieces) $(kanons_pieces) *.dvi *.lj *.ps *.pdf\ - netsoos?.mtx melisma?.mtx *.mx? *.ind *.ilg *.toc *.aux *.log - diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/README.M-Txdoc b/Master/texmf-dist/doc/generic/m-tx/mtx060/README.M-Txdoc deleted file mode 100644 index f8d3d306fe5..00000000000 --- a/Master/texmf-dist/doc/generic/m-tx/mtx060/README.M-Txdoc +++ /dev/null @@ -1,73 +0,0 @@ - M-Tx Documentation Package - -This is the development version of the M-Tx documentation. It contains -all the sources for generating the Users's Manual (mtxdoc.?), its index -(mtxindex.?), and two sample music documents (halleluja.?, kanons.?), where -'?' might be 'dvi', 'ps', 'pdf' or 'lj'. - -On a GNU system (e.g. Linux; or Cygwin running under Windows) you need -to change to some empty directory and unzip a file with a name of the -form mtxD????.zip (use GNU unzip with the -a option, or some other -unzipper that can convert text files to your operating system format). -You need to have MusiXTEX, PMX, musixlyr and M-Tx already installed. - -Now decide whether you will need: - .ps, .pdf, .dvi or .lj files (go to 1); - only .ps or .pdf files (goto 2). - - - 1. If you want .dvi or .lj files - -This option allows you to make any of the four file formats. Type - - make dvitarget && make config - -to configure the option. Make sure that everything looked for was found. -You can then choose between: - - make Makes mtx.dvi (and mtxdoc.dvi, mtxindex.dvi on the way there) - make all Make .dvi files. - make ps Make .dvi and .ps files - make pdf Make .dvi, .ps and .pdf files - make ?.lj Make the specified .lj file - - - 2. If you want only .ps or .pdf files - -You need to have pdflatex installed (any good TeX distribution has it). Type - - make pdftarget && make config - -to configure the option. Make sure that everything looked for was found. -You can then choose between: - - make Makes mtx.pdf (and mtxdoc.pdf, mtxindex.pdf on the way there) - make all Make .pdf files. - make ps Make .pdf and .ps files - -You don't have the option of making .dvi or .lj files. - - -Dirk Laurie - - -FAQ - Frequently Asked Questions - -1. I get "make: ./prepmx: Command not found". - - A: You have omitted the "make config" step. - -2. I have configured, but the make still fails. - - A: Look at the screen output from "make config". Make sure that - there is a file name after each "...". - -3. Is there any difference between the .pdf and .ps files made by the - two options? - - A: Yes. If you go by the second route, slurs tend to look smoother - and certain additional slur shapes are possible; see the PMX manual. - Also, the two versions look a little different on a low-resolution - monitor, but apart from slurs, should be virtually indistinguishable - when printed. - diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/borup.mtx b/Master/texmf-dist/doc/generic/m-tx/mtx060/borup.mtx deleted file mode 100644 index 0f00f9712a5..00000000000 --- a/Master/texmf-dist/doc/generic/m-tx/mtx060/borup.mtx +++ /dev/null @@ -1,20 +0,0 @@ -Meter: 3/4 -Title: Song of May -Flats: 1 -Style: Singer -Systems: 2 -Space: 10 - -%% \\let\endpiecesav\endpiece\ -%% \\def\endpiece{\endpiecesav\input lyrics \input notes}\ -( d4 e ) g | ( d e ) g | ( f e ) f | d2 r4 | -L: In ver-na-lis tem-po-ris -L: Dum re-ces-sum fri-go-ris - -( f g ) a | ( a g ) f | g2d | g2 r4 :|: g2 d4+ | d2 d4 | ( d c ) b | a2 r4 | -L: or-tu lae-ta-bun-do, ter-rae, ma-ris, ne-mo-ris -L: nun-ti-at hi-run-do, vi-gor re-dit cor-po-ris, - -g2 a4 | ( b a ) g | ( f e ) f | d2 r4 | ( f g ) a | ( a g ) f | g2d | g2 r4 :| -L: de-cus ad-est de-fo-ris re-no-va-to mun-do, -L: ce-dit do-lor pec-to-ris tem-po-re iu-cun-do. diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/chord.mtx b/Master/texmf-dist/doc/generic/m-tx/mtx060/chord.mtx deleted file mode 100644 index a5b0ca6a798..00000000000 --- a/Master/texmf-dist/doc/generic/m-tx/mtx060/chord.mtx +++ /dev/null @@ -1,10 +0,0 @@ -Style: Organ -Meter: C -Flats: 1 - -{ cs0 c }{ c }{ c } -C: {e{g{b {e{g{b {e{g{b egb -{ cs0 c }{ c }{ c } -C: {e{g{b {e{g{b {e{g{b egb -{ cs0- c }{ c }{ c } -C: {b+ {b+ {b+ b+ diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/dertod.mtx b/Master/texmf-dist/doc/generic/m-tx/mtx060/dertod.mtx deleted file mode 100644 index 26cbd7b43e8..00000000000 --- a/Master/texmf-dist/doc/generic/m-tx/mtx060/dertod.mtx +++ /dev/null @@ -1,9 +0,0 @@ -Style: PianoBass -PianoBass: Voices RH LH; Clefs F F; Continuo -Meter: C/ -Flats: 1 - - f2 g4 e | f2 a4 a | a2 f4 e | f2 f4 e | f2 g4 e | f2 a4 a | a2 f4 e | -C: ad bd gd+ ad gle+ f+ gle+ ad acs ad d+ gd+ ad bd gd+ ad gle+ f+ gle+ ad acs - d2 d4 d | d2 d4 a | a2 a4 a | a2 d4 d | d2 d4 d | d2 d4 a | a2 a4 a | -C: d- d- d- d- d- d a- a- a- d- d- d- d- d- d- d- d- d a- a- a- diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/docversion b/Master/texmf-dist/doc/generic/m-tx/mtx060/docversion deleted file mode 100755 index 22dbcf815ec..00000000000 --- a/Master/texmf-dist/doc/generic/m-tx/mtx060/docversion +++ /dev/null @@ -1 +0,0 @@ -grep 'def\\versionname' mtxdoc.tex | sed -e "s/.*{\(.*\)\.\(.*\)}.*/\1\2/" diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/dona.mtx b/Master/texmf-dist/doc/generic/m-tx/mtx060/dona.mtx deleted file mode 100644 index 2921ad5a387..00000000000 --- a/Master/texmf-dist/doc/generic/m-tx/mtx060/dona.mtx +++ /dev/null @@ -1,19 +0,0 @@ -Title: Dona Nobis Pacem -Flats: 1 -Meter: 3/4 -Style: Singer -Bars/line: 8 -Size: 20 - -U: !bf 1 -@+3 [ f8 c ] a2+ [ g8 c- ] b2+ ( a4 g ) f f e2 ( d4+ c8 b ) [ a g ] ( c4.b ) a ( a8 g f4 e ) f2d -L: Do-na no-bis pa-cem, pa-cem, do-na no-bis pa-cem, - -U: 2 -c2d+ cd ( c4 b ) a a g2 d4+ d2 c4 c2 ( c8 b a4 g )+5 f2d -L: do-na no-bis pa-cem, do-na no-bis pa-cem, - -U: 3 -@=+1 f2d ed ( f4d g8 ) [ a b ] c4 c2- b4+ b2 a4 a2 ( e8 g c4 c- ) f2d -L: do-na no-bis pa-cem, do-na no-bis pa-cem. - diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/dwoman.mta b/Master/texmf-dist/doc/generic/m-tx/mtx060/dwoman.mta deleted file mode 100644 index 77f00c576b4..00000000000 --- a/Master/texmf-dist/doc/generic/m-tx/mtx060/dwoman.mta +++ /dev/null @@ -1,4 +0,0 @@ -Style: Singer -Meter: 3/4 - -%% w80m diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/dwoman.mtb b/Master/texmf-dist/doc/generic/m-tx/mtx060/dwoman.mtb deleted file mode 100644 index c9003cbf5bf..00000000000 --- a/Master/texmf-dist/doc/generic/m-tx/mtx060/dwoman.mtb +++ /dev/null @@ -1,3 +0,0 @@ -e f g ( a2d a ) (" g8 f ) (" e4 e ) -L: She is a dan-ge-rous wo-man -L: You'll get a bro--ken heart_ diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/halleluja.ltx b/Master/texmf-dist/doc/generic/m-tx/mtx060/halleluja.ltx deleted file mode 100644 index 4b09e89f67b..00000000000 --- a/Master/texmf-dist/doc/generic/m-tx/mtx060/halleluja.ltx +++ /dev/null @@ -1,75 +0,0 @@ -\documentclass[a4paper]{article} -\usepackage{etex} -\usepackage{mtxlatex,times} -\mtxlatex -\pagestyle{headings} -\title{ {\Huge Halleluja!\\ [2ex]} - {\Large\textit{Anthems for unaccompanied church choir (SATB)}\\ [5ex]}} -\author{\Large Edited by Dirk Laurie} -\date{} -\let\Writebarno\writebarno -\begin{document} - \maketitle - \thispagestyle{empty} - \tableofcontents - \section*{} % Foreword -The scores in this booklet were edited from nearly illegible photocopies -of crudely duplicated manuscripts, themselves made by inexpert copyists -from unknown originals in the days before photo-copying machines existed. -Any remaining errors are the responsibility of the editor. - -Unfortunately the available sources did not specify who the composers -and lyrics writers of these anthems are. -\pagebreak - -\def\writebarno{\vbox to 24pt{}{\Writebarno}} -\begin{Score} {Kroon Hom!} {kroonhom} \end{Score} -\def\writebarno{\vbox to 16pt{}{\Writebarno}} -\begin{Score} {Loof nou die Heer} {loofnou} \end{Score} - - \section*{Technical notes} -The score was typeset by the editor using his own \MTx\ typesetting program, -which in turn relies on the programs \PMX\ by Don Simons, \texttt{musixlyr.tex} -by Rainer Dunker, MusiX\TeX\ by Daniel -Taupin \textit{et al.}, \LaTeX\ by Leslie Lamport and \TeX\ by Donald Knuth. - - \section*{The lyrics} -Here is a literal translation of the words of the first anthem. -\begin{verse} - \begin{center} Crown Him! \end{center} -Crown Him! Crown Him! Crown Him! \\ -Around the throne of God on high rejoices a crowd of people, -a crowd redeemed of sin and guilt. \\ -And crown Him as your Lord. \\ -Bring praise and thanks and glorify his Name and crown Him as your Lord. \\ -The promise of the Second Coming and the Advocacy of the Spirit causes men and -the Creation to wait hopefully for eternal freedom. \\ -One day corn and chaff will be separated. \\ -He will lead us in freedom. \\ -Throw all your sorrows before Him and crown Him as your Lord. \\ -Let every person, every nation on this earth praise Thee. \\ -Unto Him eternal praise and glory and crown Him as your Lord. \\ -O ye that are chosen, come and assemble before his feet. \\ -Join everyone in eternal song and crown Him as your Lord. \\ -Amen. -\end{verse} - -The second anthem is a translation of Psalm 150. Rather than -an attempt at rendering that version into English, here are the -relevant verses from the Authorised Version (King James Bible). -\begin{verse} - Praise ye the \textsc{Lord}. Praise God in his sanctuary: praise -him in the firmament of his power. \\ - Praise him for his mighty acts: praise him according to his excellent -greatness. \\ - Praise him with the sound of the trumpet: praise him with the psaltery -and harp. \\ - Praise him with the timbrel and dance: praise hom with stringed instruments -and organs. \\ - Praise him upon the loud cymbals: praise him upon the high sounding -cymbals. \\ - Let every thing that hath breath praise the \textsc{Lord}. - Praise ye the \textsc{Lord}. -\end{verse} -\end{document} - diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/kanons.ltx b/Master/texmf-dist/doc/generic/m-tx/mtx060/kanons.ltx deleted file mode 100644 index 973ce3f982e..00000000000 --- a/Master/texmf-dist/doc/generic/m-tx/mtx060/kanons.ltx +++ /dev/null @@ -1,13 +0,0 @@ -\documentclass{article} -\usepackage{etex} -\usepackage{mtxlatex,charter} -\mtxlatex -\pagestyle{empty} -\renewcommand{\writebarno}{\rule{0pt}{12pt}} -\begin{document} - \begin{excerpts} -\input{dona.tex} \vskip 8mm -\input{sanctus.tex} \vskip 8mm -\input{viva.tex} \newpage - \end{excerpts} -\end{document} diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/kroonhom.mtx b/Master/texmf-dist/doc/generic/m-tx/mtx060/kroonhom.mtx deleted file mode 100644 index 3908d39d43c..00000000000 --- a/Master/texmf-dist/doc/generic/m-tx/mtx060/kroonhom.mtx +++ /dev/null @@ -1,144 +0,0 @@ -Title: Kroon Hom! -Flats: 2 -Style: SATB -Pages: 3 -Systems: 14 -Space: 0 4 -% %\font\tensf=cmss10 \tensf - -%% h280m w193m -% 0 -f | b2 r4 b | d2 r4 d | { f0 | f2 } r4 || f- | fd f8 [ g a ] [ b c ] | -L: Kroon Hom, kroon Hom, kroon Hom! Rond-om die troon van -f | d2 r4 f | g2 r4 g | (-4 b2 a4 g | a2 )-4 r4 || c- | dd d8 e4 e | -f | b2 r4 d | d2 r4 d | (+2 d2 c4 b | c2 )+2 r4 || f- | bd b8 b4 b | -f | b2- r4 b+ | b2 r4 b | { f0 | f2 } r4 || a- | b2 e4 g | - -% 5 -d4 d d e | d [ c8 b ] c4d b8 | b2d b4 | -L: God om-hoog juig steeds 'n men-se-skaar, 'n -f fs g g | f f fd f8 | f2d b4 | -b c b c | b b a a | b0 | -b a g c- | f f f e | (-6 d f8 e d c )-6 d4 | - -% 10 -[ a8 g ] [ a b ] c4 c | [ b8 a ] [ b c ] d4 [ c8 b ] | [ a b ] c4 a g | -L: skaar ver-los van sond' en skuld. En kroon Hom as u -f f f fs | g g g g | f f f e | -c2 a4 d | c2 b4 c | c a c b | -@-6 e2 e4 d | g2d e4n | f2 c | -L: skaar los van sond', en kroon Hom - -% 13 -f2d |: f4 | [ b8 c ] [ d c ] b4 f | g2d g4 | [ c8 d ] [ e d ] c4 g | a2d f4 | -L: Heer, en kroon hom as u Heer, en kroon Hom as u Heer. Bring -c2d |: [ f8 e ] | [ d e ] [ f e ] d4 d | e2d f4r | [ e8 f ] [ g f ] e4 e | f2d f4 | -a2d |: f4 | f b f b | b2d b4n | c c g c | c2d a4 | -fd |: f4 | b2d- b4 | [ e8 f ] [ g f ] e4 d | c2d c4 | [ f8 g ] [ a g ] [ f g ] [ f e ] | -L: Heer, en kroon, en kroon Hom as u Heer, kroon Hom as Heer. Bring - -% 18-19 -b c d e | fd b8- a4 g | fd f8 [ a g ] [ f e ] | -L: lof en dank en prys sy Naam en kroon Hom as u -g a b b | bd f8 f4 cs | dd d8 e4 c | -b f+ f e | bd b8 b4 b | bd b8 [ c b ] a4 | -d4 f b g | dd d8 e4 en | fd f8 f4 [ f8 fs ] | - -% 20-23 -d2d f4 | (+6 g c8 b a4 d8 c | b4 e d )+5 c | -L: Heer. En kroon Hom -b2d f4+ | (-2 e g f a | b c b )-2 g | -b2d b4 | (+6 b e8 d c4 f8 e | d4 f2 )+4 e4 | -g4 g- (-8 g8+ f e d | e d c4 f8 e d4 | g a b )-6 e- | -L: ~ En kroon Hom - -% 24- -%%L5 -b2 a | bd :| d4 | dd d8 c4 b a g fsd d8 g4 a b c d2d r4 -L: as u Heer. Be-lof-te van die We-der-koms en Voor-spraak van die Gees -f2 f | fd :| f4s | g4d g8 g4 g en e dd d8 | d4 d d g | f2sd r4 -d2 ( c4 e ) | d2d :| d4 | b b c c cs c d [ a8 fs ] | g4 fs g g | a2d r4 -f2 f2 zf- | b2d :| d4 | g g e g a a d- d | b a g e+ | d2d r4 - -d c8 b a4 g c f- en d [ c8 f ] [ g a ] g4d f8 f2d r4 -g g8 g f4 en f c c cr c c end c8 c2d r4 -L: laat mens (en) skep-ping hoop-vol wag om e-wig vry te wees. -b c c c c f- g g f en c+ b a2d r4 -g en f [ c8 b ] a4 a c b a b c c f2d r4 - -fs8 f4 f8 g4 g a a8 a b4 b c8 c4 c8 b4 c d2d d4 dd d8 d c b af -d8 d4 d8 d4 d d d8 d d4 f f8 f4 f8 f4 f f2d f4s g4d g8 f e d f -L: Een-maal word kaf en ko-ring ge-skei. Hy sal ons in vre-de lei. Werp al jou sor-ge voor Hom -a4 a g2 fs g4 b a a b a b2d a4 b b ad b8 | -d c b2 a g4 d+ f e d c b2d d4 g g b- b | -L: Een-maal kom Hy weer, hy sal in vre-de lei. Werp al jou sor-ge - -g2d g4 ad g8 fs4 g a2d of f4 -e2d e4 en e d d d2d f4 -L: neer, (en) kroon Hom as u Heer. En -b0 | a4 a a g fs2d fn4 -e0 | cs4 c [ d8 cn ] b4 a2d ofd f4+ - -[ b8 c ] [ d c ] b4 f g2d g4 [ c8 d ] [ e d ] c4 g a2d f4 -[ d8 e ] [ f e ] d4 d e2d f4r [ e8 f ] [ g f ] e4 en f2d f4 -L: kroon Hom as u Heer, en kroon Hom as u Heer. Bring -f b f b b2d bn4 c c g c c2d a4 -b2d- b4 [ e8 f ] [ g f ] e4 d c2d c4 [ f8 g ] [ a g ] [ f g ] [ f e ] | -L: kroon, en kroon Hom as u Heer, kroon Hom as Heer. Bring - -b c d e fd b8- a4 g fd f8 [ a g ] [ f e ] -f a b b bd f8 f4 cs dd d8 e4 c -L: lof en dank en prys sy Naam en kroon Hom as u -b f+ f e bd b8 b4 b bd b8 [ c b ] a4 -d4 f b g | dd d8 e4 en | fd f8 f4 [ f8 fs ] - -d2d f4 (+8 g c8 b a4 d8 c b4 e d )+6 c b2 c -L: Heer. En kroon Hom as u -b2d f+4 g [ c8 b ] a4 [ d8 c ] b4 e d f- f2 en -b2d f4 g [ c8 b ] a4 [ d8 c ] b4 e d c d2 ( c4 b ) -g2d f4 (-2 g c8 b a4 d8 c b4 e d )-6 a g2 c- - -fd- f4 fd f8 [ g a ] [ b c ] d4 d d e d [ c8 b ] c4d b8 -fd c4 dd d8 e4 e f fs g g f f f f -L: Heer. Laat al-le men-se, el-ke volk op hier-die aard U -a2d f4 b b b b b c b c b b a a -f2d a4- b b e g b a g c- f f f e - -b2d b4 [ a8 g ] [ a b ] c4 c -f2d f4 f f f fs -L: loof. Aan Hom die eew'-ge -b2d b4 c c a d -( d f8 e d c )-6 d4 e e e d - -[ b8 a ] [ b c ] d4 b [ a8 b ] c4 a g -g g g g f f f en -L: lof en eer, en kroon Hom as u -d d b c c a c b -g2d en4 f2 c -L: lof, en kroon Hom - -f2d g4 [ a8 b ] [ c d ] e4 en f2d of f4- -c2d f4r [ f8 g ] [ a b ] a4 b a2d d4- -L: Heer. En kroon Hom as u Heer. O -a2d b4 f+ f f c c2d b4 -f2d g4 [ c8 d ] [ c b ] c4 c f2d- ofd b4- - -b b b c d [ c8 b ] c4 f- g f8 e d4 f -f g f f f en f f e b8 b b4 c -L: die wat uit-ver-ko-re is, kom skaar jul-le voor sy -b b b a b b a b b b8 g f4 a -d e d f b g f d e d8 e f4 f - -b2d f4 b b b c d [ c8 b ] c4 f- b2 b d d -d2d d4 f f f f f en f [ f8 ef ] [ d e f g ] f2 ( g4d a8 ) b2 -L: voet. Voeg al-mal saam in eew'-ge sang, en kroon Hom, kroon Hom, -b2d b4 b b b a b g a a b2d [ d8 c ] [ b c d c ] [ b c d e ] -b2d- b4 d e d f b- c f f [ b8- c d e ] [ d f b a ] [ g a b a ] [ g a b c ] - -f f d e d c b0 b b of -@+2 b2 b b g b f f0 g f -L: kroon Hom, kroon Hom, as u Heer! A-men. -f2 d f e [ f8 d c b ] a2 d0 e d -%[ d b a g ] [ f e d c ] [ b c d b ] [ e b d e ] f2 f zf- b0 e b ofd -[ d b a g ] [ f e d c ] [ b c d b ] [ e b d e ] f2 f zf- b0 e b ofd - diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/loofnou.mtx b/Master/texmf-dist/doc/generic/m-tx/mtx060/loofnou.mtx deleted file mode 100644 index be0289f32c1..00000000000 --- a/Master/texmf-dist/doc/generic/m-tx/mtx060/loofnou.mtx +++ /dev/null @@ -1,104 +0,0 @@ -Title: Loof nou die Heer -Composer: Psalm 150 -Style: SATB -Pages: 2 -Systems: 10 -Space: 2 - -%% h280m w193m -g e8.g c2 | c4 b8.a g2 | -e c8.e e2 | a4 g8.f e2 | -L: Loof nou die Heer, loof nou die Heer, -c+ g8.c c2 | c4 c8.c c2 | -c c8.c c2 | f4 f8.f c2 | - -g8 g c d e.e e4 | e8 e d c d.d d4 | -e8 e g g g.g g4 | g8 g g fs g.g g4 | -L: loof Hom in Sy hei-lig-dom, loof Hom in Sy hei-lig-dom, -c8 c c b c.c c4 | c8 c d c b.b b4 | -c8 c e g c.c c4 | c8 c b a g.g g4 | - -d8 d c b c4 g8 g | b4 a g g of | -g8 g g f e4 g8 g | g4 fs g fne | -L: loof Hom in die uit-span-sel van Sy sterk-te. -b8 b c g g4 e+8 e | d4 c b b | -g8 f e d c4 c8 c | d4 d g g ofd | - -g8 g e g c.c c4 | c8 c b a g.g g4 | -e8 e c e e.e e4 | a8 a g f e.e e4 | -L: Loof Hom om Sy mo-\"end-heid, loof Hom om Sy mo-\"end-heid, -c8 c g c g.g [ g8 c ] | c8 c c c c.c c4 | -c-8 c c c c.c c4 | f8 g a br c.c- c4 | - -U: | ~ ~ ~ ~ !bf ~~~~~~Fine -c8 c d d e c a d | c8 c b b c2 of |] -g8 g g g g g f a | g8 g f f e2 |] -L: loof Hom na die groot-heid, na die groot-heid van Sy krag. -c8 c b b c c c f | e8 e d d c2 |] -e8 e g g c e- f d | g8 g g g c-2 ofd |] - - r0 | r0 | e8.e e e d4 b8 g | a0e | -d8.d d d d4 d8 d | b+2 g | g8.g g g g4 g8 g | (-6 g4 f8s e f2 )-6 | -L: Loof Hom met die klank van ba-sui-ne, loof Hom met die luit en die harp; - r0+4 | r0+4 | c8.c c c d4 d8 cs | d0 | -d8.d d d d4 d8 d | b+2 g | c8.c c c b4 g8 e | d0 | - -b8.b b b c4 d8 d | e2 g | d8 cs d g- b4 a8.g | g0e -g8.g g g g4 g8 g | g2 g | g8 g g g g4 fs8.g | ( g2 fn ) -L: Loof Hom met die klank van ba-sui-ne, loof Hom met die luit en die harp; -d8.d d d c4 b8 b | c2 as | b8 as b cs d4 c8.b | b0 -g8.g g fn e4 d8 d | c2 cs | d8 e d e d4 d8.g | g0 - -%% L6P2 -Space: 3 -|: g8.g g g g4 g8 g | g8 e+ c a g2 | -|: e8.e e e f4r f8r fr | e8 g e ds e2 | -L: loof hom met die trom-mel, die trom-mel en die fluit. -|: c8.c c c b4 b8 b | c8 c g fs g2 | -|: c-8.c c c d4 d8 d | c8 c c c c2 | - -@+8 (+8 g8 a b d f4- )+8 f | (+9 e8 g c g e4 )+7 e | -LS: Loof Hom, loof Hom -d4 f d2 | c4 e c2 | -L: Loof die Heer, loof die Heer; -b4 b b2 | g4 g g2 | -g4+ g g2 | c-4 c c2 | - -g8.g g g g4 g8 g | g8 e+ c a g2 | -e8.e e e f4r f8r fr | e8 g e ds e2 | -L: loof hom met die trom-mel, die trom-mel en die fluit. -c8.c c c b4 b8 b | c8 c g fs g2 | -c8.c c c d4 d8 d | c8 c c c c2 | - -f8 g b d f d b g | c2 c :| -f8 fr f f f f f fr | ( e4 ds ) e2 :| -L: Loof die Heer met sna-re-spel en or-rel. -b8 b b b b b b b | ( c4 a ) g2 :| -g8+ g g g g g g g | c-2 c :| - -r0 | r0 | c4 c8 d e e d c | d2 d | -r0 | r0 | e4 g8 g g g g fs | g2 g | -@^-3 a4 a8.a c.c a4 | e2 e2 | g4 c8 b c c b c | (+6 c4 b8 a )+6 b2 | -L: Loof Hom met sim-bel-spel, loof Hom, loof Hom met klin-ken-de sim-ba-le. -a+4 a8.a c.c a4 | e2 e2 | c4 e8 g c c g a | g2 g | - -e4 d8.d c4 b8.b | a4 g8.g f2 | -g4 f8.f e4 g8.g | f4 e8.e d2 | -L: Al-les wat a-dem, kom loof, loof die Heer; -c4 b8.b c4 c8.c | c4 a8.a b2 | -c4 g8.g a4 e8.e | f4 cs8.c d2 | - -f+4 e8.e d4 c8.c | b4 a8.a g2 | -g4 g8.g a4 a8.a | g4 fs8.f g2 | -L: al-les wat a-dem, kom loof, loof die Heer; -b4 c8.c c4 d8.d | d4 c8.c b2 | -d4 e8.e f4 fs8.f | g4 d8.d ( g4 fn ) | - -U: | | | ~~D.C.~al~Fine -g+4 f8.f e4 d8.d | c4 b8.b a4 of f+8.f | e4 [ c8.e ] g4 b- | c0 :| -g4 g8.g g4 f8.f | e4 g8.g f4 a8.a | g4 g g g | e0 :| -L: al-les wat a-dem, kom loof, loof die Heer; Hal-le-lu-ja, loof die Heer. -c4 c8.c c4 c8.c | c4 c8.c c4 c8.c | c4 [ e8.c ] b4 d | c0 :| -e d8.d c4 g+8.g | a4 e8.e f4 ofd d8.d | g4 g g g | c-0 :| - - diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/lyrics.tex b/Master/texmf-dist/doc/generic/m-tx/mtx060/lyrics.tex deleted file mode 100644 index d9ee84a1ee5..00000000000 --- a/Master/texmf-dist/doc/generic/m-tx/mtx060/lyrics.tex +++ /dev/null @@ -1,14 +0,0 @@ -% -------- file lyrics.tex --------------------------------------- -\vskip 8 mm -\halign{\hskip 35 mm # \hfill & \hskip 25 mm \it # \hfill \cr -In vernalis temporis & In the time when \cr -ortu laetabundo, & spring rises joyfully, \cr -dum recessum frigoris & the end of frost \cr -nuntiat hirundo, & is heralded by the swallow, \cr -terrae, maris, nemoris & earth, sea and grove \cr -decus adest deforis & is full of beauty \cr -renovato mundo, & like a renewed world, \cr -vigor redit corporis, & the body regains strength, \cr -cedit dolor pectoris & the sorrow of the heart ends \cr -tempore iucundo. & in this playful time \cr -} diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/macro.mtx b/Master/texmf-dist/doc/generic/m-tx/mtx060/macro.mtx deleted file mode 100644 index f75ac802447..00000000000 --- a/Master/texmf-dist/doc/generic/m-tx/mtx060/macro.mtx +++ /dev/null @@ -1,15 +0,0 @@ -Style: Woodwind Violins -Woodwind: Voices FlObCl; Clefs G -Violins: Voices Violini; Clefs G -Flats: 1 -Meter: C -Enable: countMacro - -MS1 c8+ za zf zc M [u MP1 MP1 MP1 MP1 ] [u MP1 MP1 MP1 MP1 ] -r2 r4 r8 b1n d - -[u MP1 MP1 MP1 MP1 ] [u MP1 MP1 MP1 MP1 ] -c8 b1n d c8 b1 d c4.a - -[u MR3 c8+ zb zg ze zc M MP3 MP3 MP3 ] [u MP1 MP1 MP1 MP1 ] -a1 g g a b8 g1 a1 f4d r8 diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/make-dvi b/Master/texmf-dist/doc/generic/m-tx/mtx060/make-dvi deleted file mode 100644 index ea88e471c27..00000000000 --- a/Master/texmf-dist/doc/generic/m-tx/mtx060/make-dvi +++ /dev/null @@ -1,16 +0,0 @@ -target = dvi -latex = latex -concat = dviconcat - -%.lj: %.dvi - dvicopy $* xxx - dvilj -e$*.lj xxx - rm xxx.dvi - -%.pdf: %.ps - ps2pdf $*.ps - -%.ps: %.dvi - dvips -D 600 $* -o $*.ps - - diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/make-pdf b/Master/texmf-dist/doc/generic/m-tx/mtx060/make-pdf deleted file mode 100644 index 355b8e48682..00000000000 --- a/Master/texmf-dist/doc/generic/m-tx/mtx060/make-pdf +++ /dev/null @@ -1,6 +0,0 @@ -target = pdf -latex = pdflatex -concat = gs - -%.ps: %.pdf - pdf2ps $*.pdf $*.ps diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/make-target b/Master/texmf-dist/doc/generic/m-tx/mtx060/make-target deleted file mode 100644 index 355b8e48682..00000000000 --- a/Master/texmf-dist/doc/generic/m-tx/mtx060/make-target +++ /dev/null @@ -1,6 +0,0 @@ -target = pdf -latex = pdflatex -concat = gs - -%.ps: %.pdf - pdf2ps $*.pdf $*.ps diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/melisma.mta b/Master/texmf-dist/doc/generic/m-tx/mtx060/melisma.mta deleted file mode 100644 index 273f446bcc8..00000000000 --- a/Master/texmf-dist/doc/generic/m-tx/mtx060/melisma.mta +++ /dev/null @@ -1,5 +0,0 @@ -Style: Singer -Meter: C -Start: @+2 - -%% w2i diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/melisma1.mtb b/Master/texmf-dist/doc/generic/m-tx/mtx060/melisma1.mtb deleted file mode 100644 index 3f36f53124b..00000000000 --- a/Master/texmf-dist/doc/generic/m-tx/mtx060/melisma1.mtb +++ /dev/null @@ -1,2 +0,0 @@ -( c8 d1 e1 d8 e1 f1 ) e2 | -L: A-men diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/melisma2.mtb b/Master/texmf-dist/doc/generic/m-tx/mtx060/melisma2.mtb deleted file mode 100644 index d35cbcc5288..00000000000 --- a/Master/texmf-dist/doc/generic/m-tx/mtx060/melisma2.mtb +++ /dev/null @@ -1,2 +0,0 @@ -[ c8 d1 e1 d8 e1 f1 ] e2 | -L: A-men diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/melisma3.mtb b/Master/texmf-dist/doc/generic/m-tx/mtx060/melisma3.mtb deleted file mode 100644 index 70973365b6c..00000000000 --- a/Master/texmf-dist/doc/generic/m-tx/mtx060/melisma3.mtb +++ /dev/null @@ -1,2 +0,0 @@ -( [ c8 d1 e1 d8 e1 f1 ] ) e2 | -L: A-men diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/melisma4.mtb b/Master/texmf-dist/doc/generic/m-tx/mtx060/melisma4.mtb deleted file mode 100644 index 73a6efb78ee..00000000000 --- a/Master/texmf-dist/doc/generic/m-tx/mtx060/melisma4.mtb +++ /dev/null @@ -1,3 +0,0 @@ -%% \\let\BM\beginmel\let\EM\endmel\ -[[ \BM\ c8 d1 e1 ] [[ d8 e1 \EM\ f1 ] e2 | -L: A-men diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/melisma5.mtb b/Master/texmf-dist/doc/generic/m-tx/mtx060/melisma5.mtb deleted file mode 100644 index 4d6dafa134c..00000000000 --- a/Master/texmf-dist/doc/generic/m-tx/mtx060/melisma5.mtb +++ /dev/null @@ -1,2 +0,0 @@ -[ c8 d1 e1 ] [ \nolyr\ d8 e1 f1 ] e2 | -L: A-men diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/melisma6.mtb b/Master/texmf-dist/doc/generic/m-tx/mtx060/melisma6.mtb deleted file mode 100644 index 85a0e3a162f..00000000000 --- a/Master/texmf-dist/doc/generic/m-tx/mtx060/melisma6.mtb +++ /dev/null @@ -1,3 +0,0 @@ -@-3 (" [ c8 \lyr\ d1 e1 ] [ d8 e1 f1 ] ) e2 | -L: Hal-le-lu-ja -L: A---men diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/meter.mtx b/Master/texmf-dist/doc/generic/m-tx/mtx060/meter.mtx deleted file mode 100644 index 7223d511c32..00000000000 --- a/Master/texmf-dist/doc/generic/m-tx/mtx060/meter.mtx +++ /dev/null @@ -1,10 +0,0 @@ -Style: Piano -Meter: m3406 -%% \def\upiii#1{\raise3\internote\hbox{{#1}}} -%% \def\chacarera{\meterfrac34\upiii{\Big(}\meterfrac68\upiii{\Big)}} -%% \let\oldmeterC=\meterC \let\meterC=\chacarera - -%% w100m -a-2d o> a8 r r a r r a2d o> | -C: dfsa cea cea dfsa -d-2d o>-15 a4 a { [h d8 {u d+ ] d2d } zd- } | diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/mozart.mtx b/Master/texmf-dist/doc/generic/m-tx/mtx060/mozart.mtx deleted file mode 100644 index 88a4123c24d..00000000000 --- a/Master/texmf-dist/doc/generic/m-tx/mtx060/mozart.mtx +++ /dev/null @@ -1,7 +0,0 @@ -Title: Riff in C -Composer: W. A. Mozart (1756--1791) -Style: piano - -%% w120m -c2+ e4 g | b4d- c1 d c2 | -c8 g+ e g c- g+ e g | d g f g c- g+ e g | diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/mozart0.mtx b/Master/texmf-dist/doc/generic/m-tx/mtx060/mozart0.mtx deleted file mode 100644 index b6538192716..00000000000 --- a/Master/texmf-dist/doc/generic/m-tx/mtx060/mozart0.mtx +++ /dev/null @@ -1,2 +0,0 @@ -c2+ e4 g | b4d- c1 d c2 | -c8 g+ e g c- g+ e g | d g f g c- g+ e g | diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/mtxdoc.sty b/Master/texmf-dist/doc/generic/m-tx/mtx060/mtxdoc.sty deleted file mode 100644 index 521d823bfd0..00000000000 --- a/Master/texmf-dist/doc/generic/m-tx/mtx060/mtxdoc.sty +++ /dev/null @@ -1,108 +0,0 @@ -% mtxdoc.sty: macro package for writing documents with music examples -% Some comments on usage appear at the bottom - -% Thanks to Daniel Taupin whose 'musixdoc.sty' is the source -% for some of these - -% Fonts and mark-up - -\newfont{\mflogo}{logo10 scaled 1200} -\font\tentt=\fontid tt10 -\def\ital#1{{\sl #1\/}} -\def\textbs#1{\textbf{\textsl{#1}}} - -% Characters - -\def\Bslash{\tt\char'134} -\def\lquote{{\tt\char'140}} -\def\rquote{{\tt\char'047}} -\def\squote{{\tt\char'015}} -\def\dquote{{\tt\char'042}} -\def\|{{\tt\char'174}} -\def\LBR{{\tt\char'173}} -\def\RBR{{\tt\char'175}} -\def\snake{{\tt\char'176}} -\def\atsign{{\tt\char'100}} -\def\less{{\tt\char'074}} -\def\more{{\tt\char'076}} -\def\underscoreSymbol{\leavevmode \kern.06em \vbox{\hrule width.3em}}% - -% Logos - -\def\mutex{M\raise\tw@\p@\hbox{\kern\m@ne\p@ u\kern\m@ne\p@}\TeX} -\def\MF{{\mflogo METAFONT}} -\def\unix{{\sc unix}} -\def\ABC{\textbf{\texttt{ABC2M\TeX}}} - -% Making an index - -\long\def\theindex{\renewcommand{\thesection}{}\section{Index}\parindent\z@ - \parskip\z@ plus.3\p@\relax \let\item\@idxitem \columnseprule\z@ - \columnsep35\p@ \begin{multicols}{2}} -\def\endtheindex{\end{multicols}} -\def\keyindex#1{\leavevmode - \hbox{{\color{red}\Bslash #1}}\index{#1@{\protect\Bslash #1}}} -\def\zkeyindex#1{\index{#1@{\color{red}\protect\Bslash #1}}} -\def\indexed#1{{\color{green}#1}} -\def\ixem#1{\indexed{#1}\index{#1}} -\def\itxem#1{\indexed{\ital{#1}}\index{#1}} -\def\ttxem#1{\indexed{\tt #1}\index{#1@{\tt #1}}} -\newcommand{\ttxi}[1]{\item{\ttxem{#1}}} -\def\ibxem#1{\indexed{\bf#1}\index{#1}} -\def\dotxem#1{\indexed{\tt .#1}\index{#1@{\tt .#1}}} -\def\mark#1{\underline{\ttxem{#1}}} -\def\printindex{\@input{\jobname.ind}} - -% Version highlighting - -\def\current{ \version} -\def\newfrom{0.0} -\def\NEW#1{\ifdim#1 pt<\newfrom pt\else% -\index{NEW!\textsf{#1}}\marginpar{\fbox{\textsf{#1}}}\fi} - -% Paper size - -% A4 -\newcommand{\paperAfour}{ -\immediate\typeout{A4 paper size} -\global\textheight 240mm -\global\textwidth 160mm -\global\topmargin -16mm -\global\oddsidemargin 0mm} -% US Letter -\newcommand{\paperUS}{ -\immediate\typeout{US paper size} -\textheight 9.2in -\textwidth 6.5in -\topmargin -0.84in -\oddsidemargin 0mm -} - -% If there is no file 'mypaper.tex' then \paperA4 is the default paper size. -% Historically 'mypaper.tex' was used to select paper size only. -% It can of course contain any TeX macros suitable for the preamble. -\newread\mypaper -\openin\mypaper mypaper.tex\relax -\ifeof\mypaper\paperAfour\else\input mypaper.tex\fi\closein\mypaper - -\endinput - -======================================================================= - -The macros \example and \fullExample are designed to let the -music appear side by side with some verbatim code. - -\fullExample{basename} takes the input from file basename.tex and - puts the source from file basename.mtx next to it. The right-hand - minipage is centered because the source is expected to be taller than - the music. - -\example{basename} takes the input from file basename.tex and - puts the source from file basename.mtb next to it. In the - case of the M-Tx manual, basename.mtb is part of basename,mtx, - but of course one could put anything in the file. The right-hand - minipage is bottom=aligned ed because the source is expected to be - not taller than the music. - -There are some small differences in dimensions between the two macros, -which are intended to make them look just right when used together. diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/mtxdoc.tex b/Master/texmf-dist/doc/generic/m-tx/mtx060/mtxdoc.tex deleted file mode 100644 index ff9ce04d016..00000000000 --- a/Master/texmf-dist/doc/generic/m-tx/mtx060/mtxdoc.tex +++ /dev/null @@ -1,2108 +0,0 @@ -\documentclass[11pt]{article} -\usepackage{etex} -\usepackage{a4wide,color,mtxlatex,mtxdoc} -% You might like to put \paperUS here -\usepackage{verbatim,charter} -% \renewcommand{\ttdefault}{cmtt} -% Some such font packages override cmtt with wider fonts like 'courier', -% and then 80-character lines don't fit -\mtxlatex -\newcommand{\delete}[1]{\relax} -\newcommand{\archiveSite}{ - \texttt{http://icking-music-archive.sunsite.dk/mailinglist/archive} -} -\newcommand{\mailingList}{ -\texttt{tex-music@sunsite.dk} -} - -\def\versionname{0.60} -\def\version{0.60} -\def\newfrom{0.60} -\date{16 March 2005} -\title{\Huge \textbf{\MTx: Music from Text \\ \LARGE Version\current} \\ - User's Guide \vfill} -\author{\LARGE Dirk Laurie\\ \texttt{dlaurie@na-net.ornl.gov} } - -\makeindex -\begin{document} - -\vfill -\maketitle -\vfill -\begin{center} - \framebox[5in]{\parbox{3.6in}{ - \begin{mus} \input title.tex \bigskip \end{mus} - }} -\end{center} -\vfill\vfill\vfill -\thispagestyle{empty} - -\pagebreak -\pagenumbering{roman} -\tableofcontents -\pagebreak -\pagenumbering{arabic} -\section{Music from Text} - Written music has a distinctive appearance, very unlike written text. -But if we want to enlist the aid of the computer to print our scores, we -either need a sophisticated graphical interface\footnote{One such is -\texttt{noteedit} by J\"org Anders obtainable from the Archive --- -see Section \ref{Archive}.}, or we must describe -music in terms of what we are able to type. Text input is not going to -look much like printed music, but we would like it to resemble printed -music closely enough that we can see the correspondence. - -\MTx~is a language for typed music aimed at people who are not experts. -Later in this document a full description of \MTx~is given, but to start -with, here is a sample of what \MTx~input looks like. -\verbatiminput{mozart0.mtx} -Before showing you how it comes out, let's observe and discuss it. -There are two lines of input, which means that there are two voices -of music, one for each line. (Line boundaries are important in \MTx.) -The lines read from top to bottom as printed music reads from top to -bottom. - -Each voice contains a number of `words' separated by blanks. In this -example, each \ixem{word} stands for either a note or a bar line. Bars are -also important in \MTx, although the example is simple enough that I -could have omitted them. For greater readability, I have typed extra -blanks so that notes and bars that are aligned in the printed version -also line up here, but that is not necessary. What is necessary, -though, is that each line ends at the end of a complete bar. - -The \ixem{notes} are written in the \PMX\ language designed by Don Simons. -Each note starts with one of the letters \texttt{a} to \texttt{g}, which mean -exactly what you think. Lower case is easier than capitals, because it is -quicker to type. Some notes have suffixes after them. A digit indicates the -duration (1/\mark2, 1/\mark4, 1/\mark8, 1/\mark16, 1/\mark32, 1/\mark64).\footnote{Yes, it is more -logical to think \texttt{1} should mean a whole note, but we don't want to -type two digits for something so common as a semiquaver. A whole -note is denoted by \ttxem{0}, which looks a bit like a printed semibreve.} -When a note has -no digit, it means that the \ixem{duration} is the same as that of the -previous note in the same voice. Some note names have a \ttxem{+} or -\ttxem{-} after them, which means that it is not the nearest note of that -name, but that there is a \ixem{jump} of at least a fifth up or down from the -previous note. One note is dotted, \index{notes!dotted} which is indicated -with a \ttxem{d}. It cannot be confused with a note name, because it is not -the first letter of its word. A double-dotted note\NEW{0.51} -would have \texttt{dd}. - -The first note in each voice of the piece doesn't have a previous note. -Since you haven't specified anything else, it is assumed that the top -line is in the treble clef and its notes come in the \ixem{octave} running from -middle C upwards; and the bottom line is in the bass clef and its notes -come in the octave just below the one for the treble clef. The first -note of the top voice is the C above middle C, so we need a \texttt{+} -for it. \NEW{0.30} If ever again you prefer the initial octave of a voice to wherever -the previous note puts you, use a \ttxem{=} after the note name. This -can be combined with \ttxem{+} or \ttxem{-}. - -Here is the printed version of the above excerpt. - -\vskip-5mm\hskip -18mm -\begin{mus} -\input mozart0.tex -\end{mus} - -Do you think this looks good? Much better than handwritten? You are -right, but look at the following version: - -\begin{center} -\begin{mus} -\input mozart.tex -\end{mus} -\end{center} - -There is a \ixem{heading}, the notes are not stretched out so much, and the two -staves of the piano are grouped together. To achieve this, the input looks -as follows: -\verbatiminput{mozart.mtx} -The notes are exactly the same as before, but there is an introductory -paragraph, or \ixem{preamble}, that specifies what to do with them. A -\ixem{paragraph} in \MTx~is a group of consecutive lines set apart by -one or more blank lines. Most of the paragraphs contain notes, but the -printed music will not necessarily be broken at the same places as -the paragraphs. - -Only in the simplest cases (every music line in the paragraph starts with -what might be a note) are you allowed to omit the preamble. - -The preamble lines in this example are self-explanatory. The one -mysterious line is the one starting with \ttxem{\%\%}at the top of -the music paragraph. The present -implementation of \MTx~acts as a front end to the \PMX\ program. -Things that -can be done easily in \PMX\ are not re-invented, but instead the \ttxem{\%\%} -facility is provided to pass information directly to \PMX. The \PMX\ command -\texttt{w120m} means `width 120 millimetres'. A short tutorial on \PMX\ -appears in Appendix \ref{pmx}. - -A few words on technical terms, to make sure that we know what we are -talking about: -\begin{itemize} - \item A \ibxem{line} is a text line of typed music. - \item A \ibxem{word} is a string of consecutive non-blank characters, -separated by blanks from other words on the same line. - \item A \ibxem{stave} is the familiar group of five closely spaced -parallel lines on which music is written. - \item A \ibxem{voice} is a melodic strand of music, of which there -may be either one or two per stave.\footnote{Experienced \PMX\ users -please note: the \PMX\ manual uses `voice' as a synonym for `stave', -and `line of music' for what I call a `voice'.} - \item An \ibxem{instrument} corresponds either to a single stave or to a -group of two or more adjacent staves linked together with a brace -\verb'{', usually representing a single instrument like a piano. - \item A \ibxem{system} is a group of staves for the various -voices that are heard at the same time. -\end{itemize} - - - -\subsection{Lyrics} - -I wrote the \MTx\ converter because \ixem{lyrics} are not part of the \PMX\ -design. It used to be\footnote{Rainer Dunker's \texttt{musixlyr} package, -on which \MTx\ depends, can now be used directly with \PMX.} -a major effort to obtain pretty output like the -following: -\vskip 12pt \hskip -20mm -\begin{mus} -\small -\input netfirst.tex -\end{mus} - -The lyrics are in \ixem{Afrikaans}, which maybe looks incomprehensible, but -knowing as much as you do already, it -should be quite easy to understand the following input: -\verbatiminput{netfirst.mtx} -There are a few new things: \ttxem{Style}\texttt{: }\ttxem{SATB} to -indicate four-voice choral music on two staves, \ttxem{Sharps} for the key -signature (of course there is \ttxem{Flats} available too), \ttxem{Meter} -for the time signature, and \ttxem{Space}\texttt{:~9} to -indicate that there should be nine interlines of extra space between the -staves.\footnote{One \ixem{interline} is the distance between two lines in -a stave. The normal distance between staves is five interlines, but -sometimes extra space on a page is distributed between the staves: you may -need to experiment.} If there are more than two staves, you can prescribe -a different extra distance for each on the \texttt{Space} line. This is -the one preamble command that may also appear later in a music paragraph. - -Among the notes, you notice suffixes \ttxem{s} and \ttxem{n} for -`\mark sharp' and `\mark natural', and \ttxem{r} for `displace -notehead to the \mark right'. - -But the main novelty is the lines of lyrics. The rule is: each lyrics -line is identified by the \ixem{label} \ttxem{L:}, followed by lyrics of the -verse in question. Syllables are indicated by hyphens, and you don't -use bar lines on lyrics lines. If more than one note belongs to a -\ixem{syllable}, you need not worry, as long as the notes in question have been -slurred or beamed together --- each lyrics line is synchronized to the -immediately preceding voice. There may be a set of lyrics lines for -each stave in the score: if a stave has two voices, only one of -them can have lyrics specified by \texttt{L:} --- see Section -\ref{More lyrics} for a feature that allows both voices to have lyrics. - -Note the \ixem{verse numbers}. The rule is: -if you code a number followed by a point and a blank at the -start of a lyrics line, this number will not be treated as a syllable but -will be printed to the left of the first lyrics syllable: the position of that -syllable will be the same as if the number was not there. This may not be -just what you want: see the \musixlyr\ reference manual (Section -\ref{help}) for commands that can modify this behaviour. - -\subsection{Bars and meter changes} - -The notation for bars is taken from Chris Walshaw's \ABC\ music -language, with one small modification. -\vskip 1ex -\begin{tabular}{ll} -\ttxem{\|} & Normal bar line \\ -\ttxem{\|]} & Thin-thick double bar line (as at the end of a piece) \\ -\ttxem{\|\|} & Thin-thin double bar line (to separate sections) \\ -\ttxem{:\|} & Left repeat \\ -\ttxem{\|:} & Right repeat \\ -\ttxem{:\|:} & Left-right repeat -\end{tabular} -\vskip 1ex - -Bar lines make life easier, but are normally optional. Only the -normal bar line actually implies a bar separation: the double line and -\ixem{repeat} signs may appear in mid-bar. The fancy bars must appear -in the bottom voice and are optional elsewhere. - \begin{itemize} - \item If you do put them in, \MTx\ will check that there are no shorter -bars than the currently defined one. If a too-short bar occurs at the end of -the final paragraph, \MTx\ assumes you know what you are doing, and -automatically redefines the meter without printing a new time signature. If -it appears elsewhere, it is an error. - \item If your piece starts with a \ixem{pickup}, it is defined by a bar -line at the end of ``bar 0'', i.e.~the incomplete bar containing the pickup. -Even when there is a repeat sign after the pickup, so that you don't actually -see a bar line in the printed music, you still need a bar line before the -repeat sign, otherwise \MTx\ cannot know where the pickup stops. The bar line -defining the pickup is compulsory in the first voice found, and optional but -recommended in the others. When there is a pickup, the meter is not -redefined. - \item If you do not explicitly end the piece with -one of the other types of bar line, a thin-thick bar line is -automatically provided: you don't need to code it. - \item \PMX\ allows you to put two voices on a single stave by -giving the notes of the lower voice first, followed by \ttxem{//} and the -notes of the upper voice. This construct works in \MTx\ too when only -one voice for the stave was specified in the style, but for just -one bar at a time; such a bar \emph{must} be terminated by a bar line. -Use it only for very short stretches. You will probably need to -set the octave in the first note using \verb"=". - \item If you are using \PMX\ features that are not recognized by \MTx\ but -simply passed through, you may need a bar line to tell \MTx\ to which bar -they belong. - \end{itemize} - -Apart from the final `blind' meter change that is automatically made if -required, you can also define other meter changes. \index{blind!meter~change} -The rules are: - \begin{itemize} - \item The \ixem{meter change} may only occur at the \emph{very} beginning -of a bar after -a full bar of the meter previously in effect, and must be made in all -voices. In particular, any key change, volta indication etc.\ must come -\emph{after} the meter change; also, the bar following the pickup may -not contain a meter change but must have the length specified in the -preamble. - \item The normal meter change word looks like a fraction, -e.g.~\ttxem{3/4}. This always gives a visible meter change. - \item If the printed meter symbol looks different from the logical one (you -want a big `C' instead of `4 over 4', for instance), you may use a \PMX\ -formatted meter change word. \NEW{0.30} -E.g.~\ttxem{m3/4/0/0} gives a blind meter change ---- one that takes effect but is not printed. See the \PMX\ manual. -This is also legal in the preamble \ttxem{Meter:} command. -You may not introduce a meter change directly to \PMX\ via a \verb"%%" -command --- \MTx\ must know about it too. - \end{itemize} - -\subsection{Beams and \ixem{slurs}} \label{beamslur} - -Thanks to \PMX, \ixem{beams} in instrumental voices are automatic. \MTx~does, -however recognize that it is customary in vocal music to use beams only -when the notes in question are sung to the same single syllable. So if you -select a style like \ttxem{SATB} or \ttxem{Singer} that involves -voices, notes will normally appear unbeamed, except those that appear -under slurs. To override this, you need to use the \PMX\ ``forced beam'' -feature, e.g. \verb"[ c d ]", or disable the -\ttxem{unbeamVocal} feature (Section \ref{customize}). \index{beam!forced} -See Section \ref{beam&slur} on how to -fine-tune beams, and Appendix \ref{melisma} for some examples involving -lyrics. - -The slur notation is similar to forced beams, but uses parentheses. -Look at the second system of the same song: - -\hskip -20mm -\begin{mus} -\small -\input netsoos1.tex -\end{mus} -Omitting the preamble and \PMX\ lines, this is coded -as:\footnote{The coding is for this -morsel only, not an extract out of the coding for the whole piece. The -octave of the first note here is the default, not deduced from a -previous note.} -\verbatiminput{netsoos1.mtb} -Apart from \ttxem{f} for `\mark flat' you should notice the left -parenthesis \ttxem{(} to start a slur and the right parenthesis -\ttxem{)} to close it. So -\MTx\ knows that e.g.~the \texttt{c} in the top voice falls under the -slur, and does not use up a syllable of lyrics. The default direction -\index{slur!direction} -of a slur is up for the upper and down for the lower voice in a stave, -but you can override that: see Section \ref{beam&slur}. - -You are allowed to have a slur under another slur, \index{slur!nested} -e.g.~\verb"( c8 d e ( f g ) f d b ) c2". - -Occasionally a slur ends at a note and the next one starts -immediately. \NEW{0.30} For such a slur continuation \index{slur!continuation} -you code \ttxem{)(} as a single word after the note. - -If you want a tie rather than a slur, \NEW{0.55} -use braces \ixem{\LBR} \ixem{\RBR} instead of parentheses. -A continuation tie is of course \ixem{\RBR\LBR}. - -In obscure situations you may want absolute control over slur stops and -starts. To do this, put an identifier, which must be a non-zero digit -or a capital letter, immediately after the slur parenthesis or brace, -before any adjustments. Of course, any labelled slur of either kind -that you open must be closed again by its exact partner. If you really -must have interlocking slurs, \verb"(1 c8 d e (2 g g )1 f d b )2 c2" -is the way to get them. \delete{Labelling slurs in this way is also the only way -of getting more than two leves of slurs.} - -It may happen that you do not wish \MTx\ to put more than one note to a -syllable even though the notes are under a beam or slur. -For example, you -may wish to use \ixem{phrase marks} that only look like slurs, or you may be -writing music that has so many consecutive short notes that the beat -becomes difficult to follow without beams. \NEW{0.30}The way to do -this is to double the first symbol of the word starting the forced beam -or slur. E.g. \verb"{{+10" \index{\LBR\LBR} or \ttxem{((} may be used -to start a phrasing slur, and \ttxem{[[} may be used to start a forced -beam \index{beam!forced} that will still keep one note to a syllable. -The terminator for the beam or slur should not be doubled. A variation -of this feature occurs mainly when you have multi-verse lyrics and -\NEW{0.43} there should be a slur in one verse but not in another. -Start the slur with \ttxem{(\dquote} or \ttxem{\LBR\dquote} to get -the same effect as -\verb'((' or \verb'{{', except that the slur symbol itself is no longer -solid, but broken like a dotted line. \index{slur!broken} -\NEW{0.54} Synchronize lyrics by using void syllables and extension rules, e.g. - -\bigskip -\example{dwoman}{mtb}{80mm}{\fill}{72mm}{-10mm}{c}{5mm} -\bigskip - -The trailing underscore on ``heart'' takes the place of a -syllable of lyrics, and on a longer note would -produces a lyrics rule that extends to the end of the melisma. -You can use as many underscores as required; for very long melismas, -you can code e.g.\ \verb"Ah_6" instead of \verb"Ah______". - -The converse of this situation is that you want \MTx\ to -make a melisma, but you don't want a visible slur. \NEW{0.42} -Code -the slur beginning as \ttxem{(\snake} or \ttxem{\LBR\snake} and -the slur end as \ttxem{)\snake} -or \ttxem{\RBR\snake}. This gives a ``blind'' slur: invisible, but having the -same effect on lyrics as a normal slur. \index{blind!slur} Blind slurs -should not have any other tuning marks. - -\subsection{More complicated lyrics} \label{More lyrics} - -Lines of lyrics that start with \ttxem{L:} are set in the middle -between two staves (or below the bottom stave) and are aligned with the -notes of the voice under which they appear in the input file (in this -case, the alto). Such lines are referred to as \emph{normal} lyrics -lines. \index{lyrics!normal} - -Sometimes different words apply to different voices, as in the last line -of the song: - -\hskip -20mm -\begin{mus} -\small -\input netsoos2.tex -\end{mus} -\vskip 12pt -This is coded as: -\verbatiminput{netsoos2.mtb} -Some interesting \PMX\ features in this piece are \ttxem{of} for -`\mark ornament: \mark fermata' and \NEW{0.43} -\ttxem{rp+6} (\mark rest: -\mark pause) for a full-bar rest moved up six interlines. -For the meaning of the \verb'@...' words, see the next section. - -The label \ttxem{LT:} (\mark Lyrics: \mark Tenor) marks the line as -belonging to a particular voice. Such a line is referred to as an -\emph{auxiliary} \index{lyrics!auxiliary} -lyrics line, and may only appear on a stave that -already has a normal lyrics line. Labels for voices are defined in the -\ttxem{Style}, or may simply be numbers: the voices are numbered -1,2,\ldots\ from the top line downwards. Auxiliary lyrics for the top voice -on a stave (soprano and tenor) will be set above the stave, and those -for the bottom voice (alto and bass) below. Their input lines may appear -anywhere in the paragraph, since the labels show where they go. - -You can also use voice \ixem{labels} without a leading \texttt{L} to identify -the voice lines. This is necessary if some voice is omitted from the -paragraph (\MTx\ will fill its stave with rests) or if you prefer to -have the voices in a different order (e.g.~bottom-up) than top-down. -You need only label a voice line if it does not belong to the voice -immediately following the previous one. - -\subsection{Preamble commands} - -Here is a complete list of built-in \ixem{preamble} commands, with examples and -explanations. Case in preamble commands is immaterial: all command and -style names are translated to uppercase internally. -\vskip 1ex -\begin{tabular}{ll} -\verb"Part: Recorder" & Part name (set flush left above title) \\ -\verb"Title: Clarinet Quintet" & Title of piece. \\ -\verb"Composer: Mozart" & Name of composer (set flush right below title) \\ -\verb"Poet: Rellstab" & Name of poet (set flush left below title) \\ -\verb"Meter: C/" & \textit{Alla breve} meter: another notation for \verb"2/2". \\ -\verb"Flats: 3" & Key signature has three flats. \\ -\verb"Sharps: 2" & Key signature has two sharps. \\ -\verb"Space: 6 0 3" & Extra interlines of space below staves. \\ -\verb"PMX: h10i" & \PMX\ command in preamble. Rather like \verb"%%" feature.\\ -\verb"Options: x" & Forces the \texttt x option to be in effect, despite the command line. \\ -\verb"Enable: pedanticWarnings" & Enables the \texttt{pedanticWarnings} feature. \\ -\verb"Disable: unbeamVocal" & Disables the \texttt{unbeamVocal} feature. \\ -\verb"Pages: 2" & Set the piece over two pages. \\ -\verb"Systems: 11" & Use a total of eleven systems. \\ -\verb"Bars/line: 4" & Try to use on the average four bars to a line. \\ -\verb"Size: 16" & Size of music in points: default is 20. \\ -\verb"Style: Singer Piano" & - The piece is for a singer with piano accompaniment. \\ -\verb"Name: Dietrich Gerald" & Names of instruments, performers etc. \\ -\verb"Indent: 0.10" & Indent first system by 10\% of the music width. \\ -\verb"Start: @+1;@-3" & Put specified items at the start of voice lines\\ -\verb"Octave: 4 4 3 3" & Specify \indexed{initial octaves} for each stave -\end{tabular} \NEW{0.54} -\vskip 1ex -The \ttxem{Bars/line} command should only be used when you do not yet -know what \ttxem{Pages} and \ttxem{Systems} should be. - -The style line may contain several style elements (instruments etc.). -\index{style!elements} -At present, \MTx\ knows the following style elements: -\begin{verbatim} -SATB: Voices S,A T,B; Choral; Clefs G F -SATB4: Voices S A T B; Choral; Clefs G G G8 F -SINGER: Voices S; Vocal; Clefs G -PIANO: Voices RH LH; Continuo; Clefs G F -ORGAN: Voices RH LH Ped; Continuo; Clefs G F F -SOLO: Voices V; Clefs G -DUET: Voices V1 Vc; Clefs G F -TRIO: Voices V1 Va Vc; Clefs G C F -QUARTET: Voices V1 V2 Va Vc; Clefs G G C F -QUINTET: Voices V1 V2 Va Vc1 Vc2; Clefs G G C F F -SEXTET: Voices V1 V2 Va1 Va2 Vc1 Vc2; Clefs G G C C F F -SEPTET: Voices V1 V2 Va1 Va2 Vc1 Vc2 Cb; Clefs G G C C F F F -\end{verbatim} -\ttxem{Voices} gives the labels of the voices, later used to identify -lyrics lines and out-of-sequence music lines. You should not use labels -like \texttt{L}, \texttt{U}, \texttt{C}, \texttt{1} or \texttt{L1} -that conflict with \MTx's use of labelled lines for chords, lyrics etc. -Labels separated by -blanks belong to voices on different staves; labels separated by a comma, -to voices on the same stave. \ttxem{Clefs} define the clefs, one for each -stave. You can use any PMX-supported clef symbol in addition to G and F ---- see Appendix \ref{ornaments}. -The symbol \verb'8' or \verb'G8' indicates music written in the treble clef -\NEW{0.49} but sounding an octave lower, as is usual for the tenor voice in -choral music. - -\ttxem{Vocal} means that the voices will be treated as vocal for the -purpose of beams and lyrics, and \ttxem{Continuo} means that the staves -belong to -a single instrument, and will be grouped together by a \ixem{brace}. -You may not have too many voices or staves --- see Appendix \ref{limits}. - -\ttxem{Choral} means that the voices form a choir. This implies that each -voice is vocal, and their staves will be grouped together by a bracket. -You can get the \ixem{bracket} for instrumental voices too, by using -\ttxem{Group} instead of \texttt{Choral}. - -You may define your own style elements, \index{style!elements} -e.g.: \\ - -\texttt{Honky-Tonk: Voices R L; Clefs G F; Continuo} \\ - -The whole preamble is read, and new style elements saved, before any of the -commands is interpreted. So it does not matter in which order the commands -come. The preamble may be spread over more than one paragraph. \NEW{0.49} -But if you issue a command more than once, only the last instance counts. - -The \ttxem{Start} command is mildly convenient when you are experimenting with -fine-tuning, since it allows small additions affecting the beginning of -each voice to be collected in one place. It comes into its own when -combined with the multi-score option (see Section \ref{multiscore}). -\NEW{0.42} Items for each voice are separated by semicolons and may contain -blanks. These are prepended to the corresponding line of the first -paragraph, so the \emph{combined} length of the starting item and the -line in question should not be too long (see Section \ref{limits}). - -You don't normally need to specify \NEW{0.54} \ttxem{Octave}, -\index{octave@octave!defining initial} -since most of the time the octave implied by the clef is correct. - -\subsection{Customizing \MTx} \NEW{0.55} \label{customize} - -You have a lot of control over how \MTx\ does its translation. The old way -of customizing \MTx\ was by compiler options and the \ttxem{Options:} -preamble command. That method uses one-character switches, which is -only slightly mnemonic and anyway the letters get used up. -The new way is to use the \ttxem{Enable:} and \ttxem{Disable:} -preamble commands to select the features you want. - - Here is a list of switchable \MTx\ features that are -enabled by default: - -\begin{description} - \ttxi{splitShortcut} Separate 2:1 and 3:1 shortcuts into two words, and - explicitly code their durations. - \ttxi{newWordShortcut} Allow 2:1 and 3:1 shortcuts to be entered as - separate words. - \ttxi{multiFile} Take \texttt{Include:} lines into account, otherwise - ignore them. - \ttxi{doChords} Take \texttt{C:} lines into account, otherwise ignore them. - \ttxi{doUptext} Take \texttt{U:} lines into account, otherwise ignore them. - \ttxi{doLyrics} Take \texttt{L:} lines and inline lyrics changes into - account, otherwise ignore them. - \ttxi{unbeamVocal} Unbeam non-melismatic notes in vocal lines. - \ttxi{hideBlindSlurs} Hide \verb"{~" and \verb"(~" slurs. - \ttxi{interpretSlurs} Translate slur signs to PMX \texttt{s} and \texttt{t} - slurs. - \ttxi{uptextOnRests} Synchronize uptext with notes and rests, not only with - notes. -\end{description} - -Here is a list of switchable \MTx\ features that are -disabled by default: - -\begin{description} - \ttxi{solfaNoteNames} Use \ixem{tonic sol-fa} - note names \texttt{d r m f s l t} (for \emph{do, re, mi, fa, sol, la, ti}). - This will be translated to the usual note names \texttt{c d e f g a b} - in C major. Use the \PMX\ transposition feature to obtain the desired - key. Only the basic note names are supported: you should not use the - sol-fa chromatic note names (e.g.\ \emph{re, ma,}) but the basic sol-fa - note names with \PMX\ accidentals (e.g.\ \texttt{ds}, \texttt{rf}). - - This feature conflicts in some cases with other uses of these letters. - To retain the standard meaning in sol-fa mode, precede the word with a - \verb'"', e.g.\ use \verb'"r' for a rest since \verb'r' translates to - a \verb'd'. - - \ttxi{pedanticWarnings} Suppress pedantic warnings, i.e.\ cases where -you omitted something but the default action is probably what you want. - \ttxi{ignoreErrors} Do not stop on the first error. -(Errors are messages clearly marked with \ttxem{ERROR} --- -any other message printed is informative or a warning only.) - - \ttxi{instrumentNames} Indent first system and print default - instrument names. - \ttxi{beVerbose} Verbose progress report. Default behaviour is -to print out errors, warnings, and very little more. - \ttxi{debugMode} Give messages that may be helpful in finding bugs -in the \texttt{prepmx} program. -\end{description} - -You can put as many features as you like on the \texttt{Enable:} -and \texttt{Disable:} lines, just separate them by spaces. You can -also have as many \texttt{Enable:} and \texttt{Disable:} lines as you want. -For example, to imitate the way \MTx\ 0.54c did things, put -\begin{verbatim} -Enable: interpretSlurs -Disable: newWordShortcut multiFile -\end{verbatim} - -\section{Fine-tuning the printed output} - -The decisions made by \PMX\ represent a good compromise in the majority -of cases, but sometimes the first printout is disappointing. You can -influence the details of the layout in various ways. You will probably -need to look at the first draft, make fine-tuning changes, look at the -second draft, \dots several times, if you are a real perfectionist. - -\subsection{General vertical and horizontal spacing} - -It is best to use \ttxem{Bars/line} in the preamble for the first draft. -You can then decide how many systems in total are required for proper -horizontal spacing, and over how many pages they need to be spread for -proper vertical spacing. On the later drafts you will therefore use -\ttxem{Pages} and \ttxem{Systems} in the preamble. - -There are \PMX\ commands to put line and page breaks where you like --- -see Appendix \ref{pmx}. - -You can use \ttxem{Space} to control the vertical space between the -staves. There may be a number for every stave: the last number is -interpreted as extra space below the bottom stave. You will probably -need to specify it if you have lyrics or very low notes down there. -This command can be issued in any music paragraph, not only in -the preamble. It will take effect at the start of the next system. -See Appendix \ref{voltas} for an example of how this command interacts -with lyrics adjustments. - -You can specify different sizes for the instruments, -e.g.\verb" "\ttxem{Size:}\verb" 13 16 " \NEW{0.30} -might be appropriate for the main score -of a violin sonata, with the notes of the violin smaller than those -of the piano. Valid sizes are 13, 16, 20, 24 and 29. -Size is a delicate issue: see Appendix \ref{sizes}. - -You should be aware of what the \PMX\ manual calls a ``benign bug''. -Pages more than approximately half full get filled out by distributing -the vertical space among the staves. This means that the appearance of -the score may drastically change when you add one more stave. For this -reason it is best to leave space adjustments till last, when you already -know what values to give for \ttxem{Systems} and \ttxem{Pages}. - -Occasionally \PMX\ underestimates -the total height of a page and you end up with one system less than -you wanted, which then appears by itself on a page of its own. This -is particularly likely if you asked for extra space between the -staves, or are using different-sized staves. A dirty -trick that fixes this problem is to specify a little more height -directly to MusiX\TeX\ than you told \PMX: see Appendix \ref{pmx}. - -\subsection{Lyrics placement} \label{fine-tune-lyrics} - -Sometimes the default position for placing lyrics causes ugly clashes -with note stems, beams, slurs etc. -You can move lyrics up or down by -inserting a word starting with \ixem{\atsign} in the music line to which that -lyrics line is attached. For example, \verb"@-2" (`at minus two') -indicates that the lyrics should be moved down two internotes. One -\ixem{internote} is the vertical distance between e.g. a B and a C, i.e.~half -of one interline. The change takes effect at the start of the bar -in which it appears, and remains in effect until further modified -by another shift. Each voice has its own associated shifts: one for -normal lyrics and a different one for auxiliary lyrics. -\index{lyrics!auxiliary} - -You can also say \verb'@^-2' (``put the lyrics above the stave at -two internotes below the default position'') or \verb'@v' (``put the -lyrics below the stave at the default position''). These commands -discard any shift that may have been in effect for that set of lyrics before. - -Be warned that the default position itself is not fixed relative to the -stave but depends on the general vertical layout. So if you change a -layout parameter after having placed the lyrics `perfectly', they may -need a further adjustment. - -\NEW{0.30}Occasionally you need a syllable spanning two words. -You can code a \ixem{hard blank} to string the words together, -e.g. \verb'Egit-to~ad I-si-de', but it also looks good to use an -underscore which will be translated to a link, \index{lyrics!link} -e.g. \verb'Egit-to_ad I-si-de' will become: Egit-to\lyrlink ad I-si-de. -If the link gets in the way of letters with descenders, you can lower -it, e.g. \verb'pretty\_and smart' becomes: pretty\lowlyrlink and smart. - -\subsection{Beam and slur placement} \label{beam&slur} - -The decisions made by \PMX\ in choosing the height and direction of -beams and slurs may differ from what you would like. The slur start -character may have the suffixes \mark up, \mark down or \mark lower (the -last two mean the same) to control the direction of the slur, and a -suffix \verb"+#" or \verb"-#" to raise or lower the start of the slur by -\verb"#" internotes. The slur end character may also have an adjustment -suffix. Remember to fine-tune both end points when you wish to move the -whole slur up or down! - -It is also possible to fine-tune the horizontal position. The most common case -occurs when two notes on the same pitch are linked by a\NEW{0.51} tie. In -that case \verb"{"\ldots\verb"}" give a neater result than \verb"("\ldots\verb")". -See the \PMX\ user's manual for details on other horizontal adjustments. - -In the case of a slur continuation you should code the height adjustment -\emph{between} the two parentheses, e.g.~\ttxem{)-3(}. You must not have two -adjustments. - -Fine-tuning beams is all done on the beam start character. It may have -the suffixes \mark upper or \mark lower for direction, and up to -three \verb"+#" or \verb"-#" suffixes. The first raises or lowers the -beam by so many internotes, the second makes the beam more or less -steep, and the third also raises or lowers the beam, but this time in -units of beam thickness. - -\subsection{Instrument names} \NEW{0.40} \label{stavename} - -Some scores have indications like \textbf{Violin} to the left of the -first system. The easiest way to do this is to enable the \ttxem{instrumentNames} feature, -which uses the line labels as names, but you may not like the result. - -To do it yourself, use the \ttxem{Name:} command in the preamble, -e.g. -\verb"Name: Violin Piano". -The names can be any valid \TeX\ expressions that have no spaces, such as -\verb"{\it{French~Horn}}". -Remember, it's one name per instrument, not one name per stave. If you -have too few names, the remaining instruments will not be named. -You can -also use a single hard space (\verb"~") when some instrument in the middle -should not have a name. - -You will probably also need the \ttxem{Indent:} command to specify the -indentation required to provide space for the names. -E.g.\ \verb"Indent: 0.12" says the indentation should be 12\% of the music -width. - - -\section{Shortcuts} - -This section introduces \ixem{shortcuts} for things that are perfectly -possible in other ways, but a little clumsy. - - -\subsection{Chords} \label{chords} - -An isolated \ixem{chord} in the middle of a melodic line is best treated -by the \PMX\ construction of chordal notes with the \ttxem{z} prefix, e.g. -\verb"c ze zg zc" -for a C major chord. Sometimes a whole string of successive chords appears, -as in the introduction to Schubert's song \textit{Der Tod und das M\"adchen.} -You can see that the coding for this can become quite cumbersome. -Therefore \MTx\ allows you to put the chordal notes on a second line, -as shown below. - -\hskip -18mm -\begin{mus} -\input dertod.tex -\end{mus} -\vskip 12pt -\verbatiminput{dertod.mtx} -\begin{itemize} - \item There is a basic melodic line, with a separate line for the chordal -notes, labelled like a lyrics line, but with \ttxem{C} instead of \verb'L'. -\index{line!melodic} - \item For each chord there is one word on the \indexed{chord line}. -\index{line!chord} \index{chord} If the -chord contains more than one \indexed{chordal note}, \index{note!chordal} -the notes follow with no spaces -in between. The notation is the usual \PMX\ notation, with two changes: -fla\mark t and notehead \mark left. These changes are used only on chord -lines, and are unavoidable because \ttxem{e} and \ttxem{f} are needed for -note names. - \item The note chosen as melodic note \index{note!melodic} -on the main music line must not -be a shifted note (i.e. one with displaced notehead): -all shifted notes must be on the chord line. - \item The stem direction of the chord is what that of the melodic -note would have been in the absence of chordal notes. - \item Pitch on the melodic line (i.e.~the choice of the closest note -with the given name) is not affected by the chordal notes. Each chord has -its own local frame of reference, starting anew from its melodic note. This -differs from the \PMX\ \texttt{z\dots} notation, where the pitch of each -note is determined by the previous note, whether chordal or not. -\index{pitch!of chordal note} - \item Sometimes in the middle of a chordal passage there might be an -isolated melodic note that does not have any chordal notes. To indicate this, -the chord line must contain a \ixem{spacer}, which is a one-character word -containing just a tilde (\ttxem{\snake}). - \item Sometimes you only need a few isolated chords. A one-character -word consisting of a bar symbol -\ttxem{\|} on a chord line indicates that no more chords appear in the -current bar even though one or more melodic notes are still left. -In that case you do not need a \ttxem{\snake} for the `missing' chords. -Don't use bar symbols on a chord line just to separate bars when there -are no missing chords. - -Two or more consecutive such words indicate one or more bars with no chords. -If the very first word on a chord line is a bar symbol, the first bar has no -chords. - \item You can get an \ixem{arpeggio} sign (wavy line) in front of the whole chord -including the melodic note by starting the chord word with a question mark, -e.g. \verb'?ad' instead of \verb'ad' in the first chord above would have put -an arpeggio sign in front of all three notes. For more complicated -arpeggio constructions, you need to put \ttxem{?} signs on the music lines -themselves: consult the \PMX~manual. - -\item You can tie notes in chords. \NEW{0.60} The notation is more compact -than ties in the music line itself: put a \verb'{' before each note that should -be tied, no blanks, but don't put anything to close the tie. It is an error -if you open a tie and there is no note at that pitch in the next chord. -All the notes in that chord that close ties should appear before -all the notes that open ties, e.g.\ \verb"{c c{e" is OK but -\verb"{c {ec" is not. - - -\hskip -18mm -\begin{mus} -\input chord.tex -\end{mus} -\vskip 12pt -\verbatiminput{chord.mtx} - - -\end{itemize} - -\subsection{Expression marks and other annotations} - -Annotations and interpretation marks ({\ppff p}, {\ppff f}, \textit{rit.}, -\textit{cresc.} and so on) are inserted using lines like lyrics lines, but -with \ttxem{U} (for \mark Uptext) instead of \verb'L'. -Note, though, that uptext lines are synchronized with rests as well as -notes, whereas lyrics are synchronized with notes only. - -The normal position -for an \ixem{uptext} line is \emph{above} the music line to which it applies: -if it appears anywhere else, the \ixem{label} must include the voice name or -number. I'll speak of an \emph{uptext voice} \index{uptext!voice} to refer to -the totality of uptext lines (no more than one per paragraph) -associated with a particular voice. - \begin{itemize} - \item Spacers \ttxem{\snake} and bar symbols \ttxem{\|} work for uptext in -exactly the same way as for chords --- see Section \ref{chords}. -\index{spacer} - \item Vertical adjustment signs starting with \ixem{\atsign} -like {\verb"@^"} \verb"@v" \verb"@=4" -\verb"@+4" \verb"@-4" may appear -in uptext lines, and have the same effect on the position of the uptext as in -the fine-tuning of lyrics --- see Section \ref{fine-tune-lyrics}. The only -difference is that these signs appear in the uptext line itself, whereas the -lyrics adjustments appear in the corresponding music line. A line starting -\verb"U: @v " is actually a downtext line! Each uptext voice retains its own -adjustments which remain in effect even after the paragraph in which they -appear. - - \item Uptext lines may also have horizontal adjustment signs, namely -\ixem{\atsign\less} and \ixem{\atsign\more}. There are three possible -positions for aligning uptext to a note: left, right and centre. The -default position is to align to the right, but the horizontal adjustment -shifts the position in the indicated direction, e.g. one \verb"@<" causes -centred uptext and another \verb"@<" causes uptext extending to the left of the -note. Yet a third \verb"@<" will be ignored. Here, too, each uptext -voice retains its own adjustments which remain in effect even after the -paragraph in which they appear. - - \item Uptext lines are useful for indicating \ixem{guitar chords}. -To make this -easier, the sharp character \ttxem{\#} may be used on an uptext line as a -normal text character (usually in \TeX\ you need \verb'\#' to get it) -and the \ttxem{\%} character is used to indicate a -\indexed{\mtxFlat}. \index{\Flat@\mtxFlat} - \item The preprocessor tries to guess whether the word is a dynamic -indication like {\ppff mp}, {\ppff sf}, {\ppff rfz} etc.\ and will use the -MusiX\TeX\ \keyindex{ppff} font for it. The current algorithm is highly -unsophisticated: if all the letters in a word come from the list -\verb'fmprsz' it is diagnosed as a dynamic indication. - \item A more permanent \indexed{font} \index{uptext!font} -change is indicated by a word like \verb"!bf" or \verb"!it" (no -backslash --- the \texttt{prepmx} program will put it in). -Every word of that uptext voice (except \verb"\ppff" words) will be set in the -indicated font. Each uptext voice retains its own font which remains in -effect even after the paragraph in which it appears. - \item You can indicate \ixem{crescendo} and -\ixem{decrescendo} signs in uptext by two methods: - \begin{enumerate} - \item Put \verb'<' or \verb'>' -where the sign starts, and \verb'<.' or \verb'>.' where it ends. -This feature gives unpredictable results when you try to use it -in more than one voice at the same time. - \item -Put e.g.~\verb"<18" or \verb">7" where the sign starts. -\NEW{0.42} The number gives the length of the crescendo in elementary -skip units or -``elemskips''.\footnote{It is quite technical to define precisely how -long an \ixem{elemskip} is. The important thing about them is that they -stretch or shrink with spacing of the notes, so that if say a half-note -is followed by two elemskips in one place, it will be followed by two -elemskips everywhere.} - \end{enumerate} - -\end{itemize} - -\subsection{Lyrics paragraphs} - -You may prefer to have all the lyrics for a particular voice together -in one paragraph. To do this, the first line of the paragraph consists -of a name for the group of lyrics in braces, e.g.~\verb'{verse1}'. - -When you later wish to use these lyrics, you put a list of names on a lyrics -line where you would normally have put the lyrics, e.g. -\verb'L: {verse1,verse2}' replaces: -\begin{verbatim} -L: Lyr-ics for the first verse -L: Lyr-ics for the second verse -\end{verbatim} -You do not repeat this instruction in the next paragraph, but if the voice -concerned no longer has lyrics attached to it, you should indicate that by a -blank lyrics line, i.e.~\verb'L:' by itself. - -A particular lyrics paragraph name should not be used in more than one -place. If two voices have exactly the same lyrics, you need only one lyrics -paragraph, but more than one name. E.g.~\verb'{soprano}={bass}' makes two -identical sets of lyrics, one to be used by \verb'L: {soprano}' and the -other by \verb'L: {bass}'. - -One useful property of lyrics paragraphs is to allow you to -switch lyrics in the middle of a line instead of between music paragraphs. -\NEW{0.40} -This is only allowed if the voice in question already possesses lyrics: -it cannot be used to replace the \texttt{L:} line. E.g. - \verb"a b {chorus} c d" -means that starting at the note \texttt{c} lyrics will be taken -from the lyrics paragraph labelled \verb"{chorus}", and - \verb"a b {} c d" -means that lyrics are switched off at that point. - -\subsection{Long/short note combinations} \label{longshort} - -Passages containing dotted notes \index{notes!dotted} -require duration changes for every note: - -\verb"c8d g1 c8d g1 c8d g1 c8d g1 c4" \\ -There is a shorthand notation for this, namely: - -\verb"c8.g c.d c.g c.d c" \\ -The first note in a dotted group may have an explicit duration, which then -becomes the default duration, but the second must not. There is a similar -shortcut\NEW{0.51} \verb"c..d" for double-dotted notes. - -When the dotted note appears not in a group but on its own, as in triple and -compound time (3/4, 12/8 etc.), you must use a \ttxem{d} to indicate the -dot, not a period. - -Similarly, in compound meter passages containing long and short notes -require frequent duration changes: -\verb"6/8 c8 g1 c8 d1 c8 g1 c8 d1 c8d" -The shorthand notation for this reads: -\verb"6/8 c8,g c,d c,g c,d cd" - -\subsection{Barless music} \NEW{0.40} - -Many old hymn tunes do not fit into the modern pattern of regular bars. -You could get this effect by carefully counting the length of each music -line and issuing your own blind meter \index{blind!meter~change} -change instructions. - -Instead, specify in the preamble that you have zero beats per bar. -E.g.~\verb"Meter: 0/4" means that each paragraph of music -should be treated as a single bar, and that the basic counting unit is -a quarter-note. You need not issue any other meter change instructions. -\MTx\ will check that each of the lines in the paragraph have the same total -duration, which must a multiple of the specified counting unit. - -\subsection{Sticky ornaments and suffixes} - -You may need to mark a whole run of notes as staccato. To do so, -put \verb'o.:' instead of \verb'o.' after the first staccato note and -\verb'o:' after the last one. This method also works with tenuto -and all the other \ixem{ornaments} in \ref{ornaments}. -The stickyness of ornaments lasts only till the end of the bar. - -On notes and rests there are many possible suffixes, some of which you have -already encountered and some of which are given in Appendix \ref{pmx}. There -are situations where you might wish to have several consecutive notes or rests -with the same attribute. The method is similar: put a colon (\texttt{:}) -after the letter involved on the first note of such a sequence, leave out the -letter on all the notes except the last,\NEW{0.50} on which you again put the -letter. For example, in \verb'12/8' meter you might have a passage moving at -four beats to the bar, normally coded \verb"c4d cd ed ed gd gd c2d", which -becomes \verb"c4d: c e e g g c2d" when you use this shortcut. The stickyness -of note and rest suffixes lasts until cancelled. - -Each voice is treated on its own, and notes and rests are considered -independently, so if you make the \verb'd' sticky on a note it will not affect -rests. My favourite application of this feature occurs in homophonic music -with two voices per stave: I prefer to have only one rest per stave rather two -rests, one on top of the other, and so I make all the rests in one of the -voices blank by marking the first rest of that voice. - -\subsection{Multi-bar rests} \label{rests} - -\NEW{0.40}It may happen that all the instruments in your score -simultaneously have a rest of two or more bars. In that case a succession -of empty bars may be difficult to count, and the conventional notation -is to put all the rests in a single bar, with the total number of -bars printed above them. The word for a \mark multi-bar rest is e.g.\ -\texttt{rm8} for a rest of eight bars. You code this for one voice only, -and there may be no other notes or rests on that line. The same rest -will be printed on all staves. - - -You can tune the appearance of the rest by appending a signed integer -to the word, e.g.\ \texttt{rm19+18}. \NEW{0.41}Roughly speaking, -this moves the front end of the rest to the right by 18 points. Since -multibar rests can have several shapes and may even contain as many as -three separate symbols (in the case of \texttt{rm7}) it is difficult to -describe precisely what happens and you are advised to experiment. - -\subsection{Skipping and including portions of a score} \label{multiscore} - -To read in another file at the start of a paragraph, \NEW{0.55} -use the \ttxem"Include:" directive, e.g.\ \verb"Include: mylayout.mti". -The effect is exactly the same as if those lines had been part of the original -input file. The file thus included may also contain "Include:" -directives; there is no restriction on the number of levels. You may -re-include a file that was included before, but you may not include any -file that has already been included but has not yet been fully read. - -You may have various reasons for wanting \MTx\ to omit one or more lines of -your score. There are several ways to do so, of which the simplest is the -comment symbol \verb'%' that you have met before, which skips that one line. - -A line starting with \ttxem{SUSPEND} all in capitals, at the start of a -paragraph, tells \MTx\ to discard all following paragraphs until a line -starting with \ttxem{RESUME} all in capitals is found at the start of a -paragraph. The material in between must still be organized into paragraphs -that are not too large (see Appendix \ref{limits}) but need not in any other -way conform to \MTx\ input rules. - -A line starting with \ttxem{Only:} defines a subset of line numbers, -e.g.~\verb"Only: 1,3-7,9" defines the set \{1,3,4,5,6,7,9\}. \NEW{0.43} Only -the corresponding lines from all non-lyrics paragraphs after the paragraph -containing the \texttt{Only} are processed until another \texttt{Only} is -found. Any paragraph containing an \texttt{Only} is always fully taken into -account: it is not subjected to the masking action of any \texttt{Only}. -\emph{WARNING: this feature is deprecated and may behave -differently in future versions.} - -You can also conditionally ignore portions of the score depending on a -compiler variable. \NEW{0.42} The compiler options \texttt{0} to \texttt{9} -identify ten special cases of a score. Together with the basic unnumbered -version of the score, you can therefore have up to eleven versions. A line -starting with \ttxem{Case:} at the start of a paragraph gives a list of those -cases that include the paragraph in question, e.g. \verb"Case: 137" -identifies a paragraph that is only included when one of the options -\texttt{1}, \texttt{3} or \texttt{7} was selected, either as a command option -or on and \texttt{Options:} line. - -All paragraphs headed by \texttt{Case:} occurring \emph{before} the first -music paragraph are treated as extensions of the preamble. The very first -music paragraph may therefore not start with \texttt{Case:}. - -For example, the score \texttt{cervus.mtx} of Palestrina's four-part -setting of Psalm 42 (see the \texttt{source} directory in the \MTx\ -distribution) is set up to give by default a score for the conductor with all -voices in 16-point type. When one of the \texttt{1}, \texttt{2}, \texttt{3} -or \texttt{4} options is specified, you get a score with one voice in 20-point -type and the others in 13-point. When the \texttt{0} option is given, -20-point is used throughout and the score is spread over three pages. - -%A combination of \texttt{Case} and \texttt{Only} allows you to make parts from -%a score in a flexible way, e.g.~only the chorus parts, or both flutes -%together, etc. The \texttt{Case} command can never be masked out by a -%previous \texttt{Only.} - -\subsection{Macros} \NEW{0.60} - -\MTx\ offers limited support for the \PMX\ macro feature, which is -a shorthand notation for pieces of text that appear often in your input. -In \PMX, you define macro number $i$ by \texttt{MS}$i$ and end it by \texttt{M}, -each a separate word, where $i$ is a number from 1 to 20. -Everything in between (which may not contain -any word starting with \texttt{M}) is not acted on, but only stored, -but when you later ``play'' the macro by the single word \texttt{MP}$i,$ -the effect is the same as if you had typed the text you defined earlier. -In other words, a \PMX\ macro works as a purely literal text insertion. -You can also start a macro definition by \texttt{MR}$i:$ this has the effect -of immediately playing the macro, not just storing it. - -The default behaviour in \MTx\ is to pass along such \texttt{M}-words -without looking at them, which in expert hands can be quite effective, -but for the rest of us is simply a disaster. -The problem is that in that case \MTx\ does not know that notes -are being inserted, let alone what their duration is. It is in the -position of a musician who has lost count. - -\MTx\ offers two solutions to this problem, either of -which you can \texttt{Enable} in the preamble. In both cases, macros -may only appear on music lines. -\begin{description} - \ttxi{expandMacro} All macros are fully expanded at the \MTx\ level. -The \PMX\ file will not contain any macros. If you use this feature, -you can have macros numbered from 1 to 99, and macro definitions -may contain plays of other macros. Error messages apply to the expanded -text and may be difficult to understand. - \ttxi{countMacro} \texttt{M}-words are still passed along, -but when a macro is defined, \MTx\ determines its duration -and counts correctly when it is played. -\end{description} - -If you have enabled \texttt{countMacro}, there is one unavoidable -restriction: a macro definition or play may not spill over into -the next bar. Hence the total duration of a macro may not be more -than what remains of the current bar. - -A word of caution: because you cannot see the macro -definition when you play it, it is easy to lose track of duration and octave. -It is therefore just sound common sense -to set duration and octave at the first note in the macro definition, -and at the first note after the macro play, to avoid mistakes. - -\hskip -18mm -\begin{mus} -\input macro.tex -\end{mus} -\vskip 12pt -\verbatiminput{macro.mtx} - -If you used \texttt{expandMacro} instead, the first music line -could have read \\ -\verb" MS1 c8=+ za zf zc M MR2 [u MP1 MP1 MP1 MP1 ] M MP2" \\ -in which case the first line of the second bar would only be \verb"MP2 MP2". -This is shorter for you to code, and in this case it works. -It is not always feasible to use macros within macros: -\texttt{expandMacro} works -by actually inserting the strings into \MTx\ input lines, which -may not be longer than 255 characters. Too many macro expansions, -and you hit your head against the ceiling. - - -\section{Acknowledgments} I still have the -\texttt{.tex} and \texttt{.dvi} files of my first attempt at setting music -(Bach, no less) with the \mutex\ package of Andrea Steinbach and Angelika -Schofer. The first phrase goes: \begin{verbatim} -\4\,\F\~\B\.\c\|\2\A\.\|\4\B\,\E\E\| \2\group{\\\E\\\d}{\\0\\{-1}}\lslur12\go\| -\end{verbatim} -In \MTx\ that would be - -\verb"f bd c8 | a2d | b4 e- e | ( e2 d4 )" \\ -A tantalizing glimpse of a preprocessor appeared in the \mutex\ -documentation, but the software for it was never released. - -None of this would have been possible without the late Daniel Taupin, -who was the first to emphasize that printed music has a fundamentally -two-dimensional layout, and whose MusiX\TeX\ package is the engine that -actually performs the typesetting. - -I made a previous attempt to implement something like \MTx\ as a direct -preprocessor to Music\TeX\ (Daniel's first package). My lack of -expertise caused that project to die. The appearance in January 1997 of -\PMX\ 1.1 inspired me to resurrect the idea --- thanks to Don Simons. -Don has also made some comments which helped me to improve the \MTx\ -input language. Some \MTx\ features that are implemented by using \TeX\ directly, -such as multi-bar rests in scores with more than one stave, make use of -MusiXTeX code written by Don. - -Since version 0.21, \MTx\ uses Rainer Dunker's \ttxem{musixlyr} package. -This gives much neater horizontal spacing of lyrics than the manual system -used in previous versions, and virtually eliminates the need for -horizontal tuning. - -Chris Walshaw's \ABC\ provided the repeat notation. - -The layout of \MTx\ bears some resemblance to a language developed by -Miguel Filgueras, not yet publicly available in software, although I did -not consciously borrow his ideas. - -I had some enlightening e-mail correspondence with the developers of -MPP, Jan Nieuwenhuizen and Han-Wen Nienhuys. -This package (no longer being maintained, unfortunately: the authors are -working on something altogether grander called LilyPond) was the first -music package which made me believe that one could write good-looking -scores in a reasonable amount of time. - -Eric Petersen, Reenen Laurie, Kestell Laurie and Joel Hunsberger found -several bugs in earlier versions of \MTx. Christian Mondrup did this for -\MTx\ 0.50 and later. -The subscribers to the discussion list \mailingList\ --- -too many to name --- found many more and contributed to the development by -requesting new features. Details of these contribution are given in the -\ttxem{Corrections} file distributed with the \texttt{prepmx} code. - -The success of public domain music publishing owes an incalculable debt -to the late Werner Icking. He maintained an online archive for music -software and sheet music, set -standards for music typesetting, tested software packages, gave -genuinely expert advice to would-be experts, and encouraged newbies -with patience and understanding. When he died unexpectedly at a -comparatively young age, each of the small but globewide community of users -of MusiX\TeX\ lost a personal friend and mentor. His music archive -as it was at the time of his death can still be accessed at -\texttt{ftp://ftp.gmd.de/music} or \texttt{http://www.gmd.de/Music}. - -Werner's work is still being carried on, but it requires three people -to fill his shoes. Maurizio Codogno is the mailing list administrator, -Christian Mondrup the maintainer of the software archive, and Don Simons -the maintainer of the sheet music archive. - -My wife, Trienke, has had to suffer many effectively husbandless evenings -and weekends while I hammered the program and documentation into good enough -shape to be able to offer it around. - -\appendix -\setcounter{page}{1} -\renewcommand{\thepage}{A-\arabic{page}} - -\section{Where to find help} \label{help} - - \MTx\ is the tip of an iceberg. Things can go wrong at many levels. -Fortunately, here are many ways to get information and help. -\begin{itemize} - \item Consult the Table of Contents and \emph{index} in search of - a likely-looking topic. - \item The annotated examples might be useful. - \item There is a file \texttt{FAQ} in the distribution that contains - the sort of questions that new users often ask. - \item The packages on which \MTx\ relies all have their own reference - manuals. Look for the following files: - \begin{description} - \item{\PMX:~} \texttt{pmx230.pdf}, \texttt{ref230.pdf} - (these names will obviously be different - if your \PMX\ is not Version 2.30); - \item{\musixlyr:~} \texttt{musixlyr.pdf}; - \item{MusiX\TeX:~} \texttt{musixdoc.dvi}. - \end{description} - \item Consult the mailing list archive at - \begin{quote}\archiveSite \end{quote} - \item Join the \ixem{mailing list} by sending an e-mail message to - \begin{quote}\mailingList\end{quote} -with the word \texttt{subscribe} -as subject --- no message body needed. -\end{itemize} - -\section{A short \PMX\ tutorial} \label{pmx} - - This section describes the parts of \ibxem{PMX} that you are likely to need -when coding scores in \MTx. I have left out or simplified features -that are not -necessary or too advanced. In most cases, you can still use them, as -\MTx\ simply passes through anything that it does not recognize. - - \PMX\ resembles English in that it is made up of \ixem{word}s, which are -strings of non-blank characters separated by blanks. Each word, though, -has the character of an acronym, in that its letters each stand for -something longer, and in fact Don Simons designed the notation so that -you can actually say out loud what the acronym stands for. - - \textsl{In the following, the symbol \ttxem{\#} stands for some number.} - - \subsection{Words that contribute to the count} - - Each bar of music has a certain \ixem{duration}, which is is the total of the -notes and rests in it. The word for a note that contributes to the -count starts with \texttt{a} to \texttt{g}, which indicates \ixem{pitch}; and -the word for a \ixem{rest} starts with \ttxem{r}. - - A note may have a number of \ixem{suffix}es, which may come in any order. -The duration is indicated by a digit: from short to long, these are -6 (1/\mark64-th note), 3, 1, 8, 4, 2, 0, (whole note), 9 (double note, -also known as `breve'). -Moving a -note an \ixem{octave}\footnote{The \ttxem{=} suffix is not part of \PMX. -Instead, \PMX\ offers the ability to specify octaves by numbers. \emph{This -feature is not supported by \MTx.}} - up or down is indicated by \ttxem{+} and \ttxem{-}, -repeated if necessary. -The other suffixes are the following marked letters: \mark dotted, -\mark flat, \mark sharp, \mark natural, stem \mark upper, -stem \mark lower, offset to the \mark right, offset to the -l\mark eft, \mark apart (not attached to a beam). - -You can fine-tune \index{dot!fine-tuning} dot position,\NEW{0.52} e.g.\ -\verb"gd-2" puts the dot two internotes lower than it would normally go, -and \verb"gd-0+1" puts it one notehead to the right. - -You can also fine-tune\NEW{0.52} accidental position in a similar way. For -accidentals (but not for dots) you are allowed to write \verb"gs>1" -instead of \verb"gs-0+1". - - A rest may also have suffixes: duration and \mark dot as for notes, -\mark pause (duration is the whole bar), \mark blank (rest is -counted but not printed). -It can be moved up and down by \ttxem{+} and -\ttxem{-} followed by a number, e.g. \texttt{r0-4} is a whole-note rest -moved down four internotes. The other rest suffixes mentioned -in Section \ref{rests} are not yet (version 1.3.8) part of \PMX, -except \texttt{m}, which is allowed in a score for a single one-stave -instrument. \NEW{0.43} Also the `blind' and adjustment suffixes on the pause -\texttt{rp} are legal in \MTx, but not yet in \PMX. - - The duration of a note may be influenced in various ways by a previous -note: if unspecified, it is the same as the previous note; or the note -may be part of a chord, a multiplet, or a grace note group. - - \subsection{Words excluded from the count} - -Except for the first note of a chord or multiplet, the following words -for notes are excluded from the count, and should not have a duration -suffix. - -\paragraph*{Chords:} Each note in a chord except the first has the -prefix \ttxem{z}. It is excluded from the count, and suffixes -\ttxem{a} \ttxem{d} \ttxem{l} \ttxem{u} may only appear on the first, -non-\texttt{z} note. -The ``melodic note'' of Section \ref{chords} becomes the first note -of the chord when the \MTx\ code is translated to \PMX. - -\paragraph*{Multiplets:} A normal note may have an extra suffix, after -all the others, of the form \verb"x#" \index{\texttt{x}} -or \verb"x#n", where \ttxem{\#} -stands for a number. This means that the note is the first of a -multiplet (or $x$-tuplet) with \verb"#" equal notes in the time of one. -Only the duration coded on this first note is included in the count. The -appearance of the first note will not be the normal one for its -specified duration: it will look like all the others. -E.g.~\verb"g4x3 a b" defines a \ixem{triplet} of total duration a quarter-note -looking like three eighth-notes. The \ttxem{n} means that the number -\verb"#" is not to be printed. - -\paragraph*{Grace notes:} A normal note may have a prefix group starting -with \verb"G#" or \ttxem{G}. This indicates that the note is the first -of a grace note \index{note!grace} -group with \verb"#" notes, to be set in a tiny font. -All the notes in the group, even the first, are excluded from the -count. - -\subsection{Words for other things than notes} \label{ornaments} - -Other things than notes go into a music score: ornaments, -clefs, -expression markings, changes in key and time signature, etc. -\PMX\ contains support for many of these. Here I mention only a small -selection: see the \PMX\ manual for items you need but which are not -described here. A word for each such feature has its characteristic -first letter followed by a selection of \ixem{suffix}es that qualify it. - -\begin{description} - \item{Ornament:} An \ixem{ornament} is set off-stave in line with its note, -and its word, starting with \ttxem{o}, comes directly after that of its -note. The more commonly needed suffixes are -\texttt{u} (dot for -pizzicato), \texttt{p} (\mark prime for sharp pizzicato), -\mark fermata above, \textbf{fd} (\mark fermata \mark down). -The suffixes \texttt{.} (staccato) and -\texttt{-} (tenuto) differ from the others by being set close to the -note, not off-stave. -There are several more in \PMX\ and many others in MusiX\TeX. - \item{Clef change:} You get a small \ixem{clef} at the point where -the clef change occurs and a big one at the start of the next line. -The clef change word begins with \ttxem{C}. The suffix \verb"#" places -middle C on line \verb"#" of the stave, where \ttxem{1} is the bottom -line and \ttxem{5} the top. An appropriate clef is selected -automatically, e.g. \ttxem{C0} is the G-clef (treble) and \ttxem{C6} is -the F-clef (bass). - \item{Voltas:} \index{volta} These are the labels to mark sections of the score -that are not played at every repeat. You put \ttxem{V}\textbf{1} to indicate -that a bracket containing the number 1 should appear above the bar -in question. Since \PMX\ wants all such indications in the bottom -voice only, they are deleted by the \MTx\ preprocessor if found -elsewhere. See Appendix \ref{voltas}. - \item{Key change:} Put \verb'K+0-2' in a music line where a \ixem{key} change -to two flats should occur. As with voltas, this indication is deleted -if not in the bottom voice. -\end{description} - -\subsection{Useful things to put on \ttxem{\%\%} lines} -\label{usefulPMX} - -Most of the following commands should appear in the first music paragraph -or on a \ttxem{PMX} preamble command line. -Some of them are actually raw \ixem{MusiX\TeX} --- -consult the MusiX\TeX\ manual for other interesting commands. -\verb"%%" lines in the preamble are treated a little differently -- see -Appendix \ref{expert}. -\begin{description} - \item{Line, page and movement breaks:} -Put \ttxem{\%\%L}\texttt{6} above a paragraph -to make the 6th system start there, and \verb'%%L6P2' to put that -paragraph at the top of page 2. You can't ask for a \ixem{page break} -without a \ixem{line break}. Use this feature only when necessary. -Put \verb'L10M+10i0.1' to make a new movement start at the 6th system, -with 10 internotes of extra space between movements and an indentation -of $0.1=10\%$ of the width. - \item{\verb"h260m"} Height is 260 millimetres. - \item{\verb"w8i"} Width is 8 inches. - \item{\verb"\\vsize 270mm\"} Height given to MusiX\TeX\ is 270 millimetres. - \item{\verb"Ar"} Use relative \ixem{accidentals}. This requires a different - way of coding flats and sharps ---think of \verb's' as meaning - `sharpened' instead of `sharp'. E.g.~if the key signature has one or - more flats, then \verb'bs' means a B natural, \verb'bn' a B flat, and - \verb'bf' a B double flat. If you need to \ixem{transpose} music often, - it is a good idea to acquire the habit of using relative accidentals - always. If you don't, only pieces in C major or A minor can be - transposed without trouble. - \item{\verb"As"} Always use small \ixem{accidentals}. Normally \PMX\ -uses big accidentals and only switches to smaller ones if there is a -reason to do so. You can also force all big accidentals by \verb"Ab." - \item{\verb"Ar K+1-3"} Use relative accidentals and transpose the - piece up one internote, to a key with three flats. You can only - \ixem{transpose} correctly when using relative accidentals! - \item{\verb"\\stdbarrules\"} This will cause bar lines to be - drawn solidly \index{bar lines!solid} - from the top to the bottom of each system, maybe - cutting through lyrics in the process. - \item{Midi commands} \PMX\ can make MIDI files. For example, if you put -\begin{verbatim} -PMX: Ii55:55:55:55t96b56:72:48:80v127:100:73:46 -\end{verbatim} -in your preamble, a MIDI file will be generated in which all four -instruments -are played on MIDI instrument number 54 (if you use the default -instruments together with \texttt{Timidity++}, this means `voices') -at a tempo of 96 quarter-notes to a minute, with MIDI balances -of 56, 72, 48 and 80 (centre is 64) and MIDI velocities -of 127, 100, 73 and 46 respectively. More details appear in the -\PMX\ manual. -\end{description} - -\section{How to get and use \MTx} - -\textit{Sorry, this section assumes that you have some knowledge of -computers! Get a \TeX-pert to help you if necessary.} - -\subsection{Installation} \label{Archive} - -The primary official source for all the software you need is -the MusiX\TeX\ \ixem{Archive} at -\begin{quote} \archiveSite \end{quote} in the -\texttt{/music/musixtex/} directory -and its subdirectories. -Copies spread from there to other official CTAN (Comprehensive \TeX\ -Archive Network) sites. -\MTx\ is in the \texttt{software/mtx} subdirectory. -You might find there a binary package suitable for your system; -if so, you can ignore the part of this section that discusses compilation. - -\begin{quote} -Read the \ttxem{README} file that comes with the \MTx\ zip file. -\end{quote} - -If you are still reading on despite the previous line, here is a -general description --- but the most recent stuff, the real nitty-gritty, -is in the \texttt{README} file. - -To use \MTx, you need a working \ibxem{PMX} installation (version -2.502 or later, -although many scores will work with earlier versions) which -is in the \texttt{software/pmx} subdirectory of the Archive. -\PMX\ itself is a -preprocessor to Daniel Taupin's \ixem{MusiX\TeX} (Version T.112 was used -to prepare this manual), which is in the MusiX\TeX\ Archive directory itself. -All of these depend on Donald Knuth's \TeX\ typesetting package. -If your system does not already have \TeX, put pressure on your system -administrator. - -You will need Rainer Dunker's \ttxem{musixlyr} extension package (version -2.0c or later). This package is available with full documentation in the -\texttt{add-ons} subdirectory of the Archive, and you should read -that documentation if you need more lyrics features than -those accessible from \MTx. - -My \MTx\ translator was originally written in Turbo Pascal, but I use -the Free Pascal compiler, available for many systems, for current development -work. -For the sake of those users whose systems do not yet run Free Pascal, -but have a C compiler that accepts ANSI C source code, -the Pascal source distribution provides the possiblity of making a C translation, -using Dave Gillespie's Pascal-to-C converter \texttt{p2c} -and a bit of post-translation hacking. - -Once you have all the software, make an \MTx\ file with extension -\dotxem{mtx} using your normal text editor. It must be an \ixem{editor} that -respects the line boundaries and empty lines that you type in: in other -words, something fairly primitive, not an upmarket word processor. Run -the program \ttxem{prepmx} with argument \texttt{basename} when -your file is called \texttt{basename.mtx}. The output -will be a file \texttt{basename.pmx} which then goes through \PMX\ -and \TeX. The error detection capabilities of \texttt{prepmx} are -reasonable but not extensive: much is passed through unexamined to \PMX. - -\subsection{The \texttt{prepmx} command line} \label{commandline} -You could also supply other arguments on the \ixem{command line}. -A complicated command line in Unix (replace \verb'/' by \verb'\' -in DOS) might be -\begin{verbatim} -prepmx -bvn mysong /home/dirk/texinput /home/dirk/mtx/mystyles.txt -\end{verbatim} - -This line contains switches (recognized by the leading hyphen), -a basename, the directory where -the final \dotxem{tex} file will be put (if you omit it, files go in the -current directory), and the file where I keep my -own styles (if omitted, the file \ttxem{mtxstyle.txt} in the current directory -is used, if there is one). Instead of putting the switches as here on the -command line, you can specify them -in a preamble \ttxem{Options:} line, which takes precedence over the command -line. - -\begin{description} \index{command line!switch} - \item {\ttxem{-b}} \quad Disable \texttt{unbeamVocal}. - \item {\ttxem{-c}} \quad Disable \texttt{doChords}. - \item {\ttxem{-D}} \quad Enable \texttt{debugMode}. - \item {\ttxem{-f}} \quad Enable \texttt{solfaNoteNames}. - \item {\ttxem{-i}} \quad Enable \texttt{ignoreErrors}. - \item {\ttxem{-m}} \quad Disable \texttt{doLyrics}. - \item {\ttxem{-n}} \quad Enable \texttt{instrumentNames}. - \item {\ttxem{-t}} \quad Disable \texttt{doUptext}. - \item {\ttxem{-u}} \quad Disable \texttt{uptextOnRests}. - \item {\ttxem{-v}} \quad Enable \texttt{beVerbose}. - \item {\ttxem{-w}} \quad Enable \texttt{pedanticWarnings}. - \item {\ttxem{-0}, \ttxem{-1}, \dots, \ttxem{-9}} \quad Select specified -case of multiple score. See Section \ref{multiscore}. -\end{description} - -The \texttt{prepmx} program exits with \ixem{return code} 0 if no error was -found, and return code $n$ if an error was found while processing line $n$ of -the input. \NEW{0.40}Return code 10000 means that the input file was -empty or could not be opened, or that an invalid option was encountered. -In the latter case, a list of available features is displayed --- -this is a quick way of obtaining such a list. - -In some cases, the actual error may be on -another line, e.g.\ when it is found that music lines have a different -duration, the first line processed may be in error, but the discrepancy -is only found later. - - -\subsection{Bugs, restrictions and incompatibilities} \label{limits} - -The status of bugs changes too quickly for this document. Please -consult the files supplied with the package, in particular -\texttt{README}, \texttt{Corrections} and \texttt{Bugs}. - -In \MTx\current\ a paragraph may not be more than 100 lines long, -an input line -(including those in lyrics paragraphs) not more than 255 characters, -a lyrics -line in a music paragraph not more than 128 characters, and you may define a -maximum of 12 extra style elements of your own, whether in the preamble or in -the \ttxem{mtxstyle.txt} file. It is possible to change these easily: see -\texttt{README}. - -\NEW{0.42} You can have up to 15 voices, using up to 15 -staves. For each two-voice stave, the number of staves you can have goes -down by 1. - -Other limitations are described in the \PMX\ documentation. - -\subsubsection{Compatibility} - -In \MTx\ 0.55 a small but wide-ranging change has been made in \verb"mtx.tex" -which affects the \verb"\musixlyr" interface and vertical spacing. The net -result is that new scores will need much less tweaking with \texttt{Space:} -and \verb"@". On the other hand, old scores that have laboriously been -manipulated into correctness will now look wrong unless you put an old copy -of \verb"mtx.tex" where it will be found first, preferably in the same -directory as the \MTx\ score. - -\MTx\ 0.55 takes advantage of the new slur syntax of \PMX\ 2.502. -In some cases the slurs will look a little different, because \verb"{"...\verb"}" -now generates ties. - -Scores made using \MTx\ 0.52 and later should still compile under -\MTx\current. Older scores may need to be revised. - -Some command line options allowed in \MTx\ 0.52 have been removed. - -The \MTx\ 0.52 documentation stated falsely: -\begin{quote} \small - The default duration at the completion of a line is that of the -last note appearing at that stage, which in the case of an expanded -group is the shorter note. Since this is opposite to what happens -during the line itself, a line ending with a -group should have an explicit duration code for the first note -on the next line for that voice. -\end{quote} -Actually, duration is taken from what you code, -so e.g.\ \texttt{c4.d} will leave the duration code as \texttt{4}. -Of course, explicitly coding the duration can never hurt. - -\subsubsection{Unsupported features of Musix\TeX\ and \PMX} - -Unlike MusiX\TeX\ itself, which is stable and nearly complete, -\PMX\ and \MTx\ are both still in a stage of growth. Their authors -are reasonable people who subscribe to the discussion list \mailingList\ -and are open to suggestions -made there. If you have any ideas, please email them to the list, -so other users can see them and comment on them. - -The implementation of new features depends on three factors: what I -need in my own scores; what users of \MTx\ have asked me to do; and how -easy and quick it is to do them. But bear in mind that the underlying -philosophy of \MTx\ is to be simple and intuitive: arcane features are -best left to \PMX\ if not MusiX\TeX. I don't mind how sophisticated the -\PMX\ code generated needs to be, but the \MTx\ input language must not -acquire a cluttered and obscure appearance. - -Support or otherwise of Musix\TeX\ and \PMX\ features comes at three -levels: -\begin{enumerate} - \item The most frequently used features are transparently -incorporated into the basic \MTx\ language. - \item The default action of \MTx\ is to pass through unchanged -anything it does not recognize. Most \PMX\ and MusiX\TeX\ features -still work in this case. For example, you can use \verb"\PED\"\NEW{0.51} -in front of a -note to obtain a \ixem{pedal} annotation below the stave, and \verb"\DEP\" -to get the big asterisk for pedal release. This is an example of a ``Type 1 -\TeX\ string'' \index{TeX string@{\TeX\ string}!Type 1} as -described in the \PMX\ manual. - \item When a new \PMX\ feature affects aspects like count -or pitch of which \MTx\ should be aware, it is likely to be -incompatible with the preceding release of \MTx, although I do try -to catch up later. -\end{enumerate} - -Some pertinent aspects: -\begin{enumerate} - \item \MTx\current\ does not recognize the macro features of \PMX. -You should therefore not use macros for notes or anything else that -affects the count, the duration, the current octave and other properties -that are inherited by a note from the next. But there is no harm in -using macros for things like extra space. - \item \MTx\current\ is not aware of movement breaks and the possibility -to change the number of voices. - \end{enumerate} - -\subsection{For \PMX- and MusiX\TeX-perts only} \label{expert} - -You can send commands directly to \ibxem{PMX}. All lines starting with -\ttxem{\%\%} in music paragraphs are collected, stripped of the leading -\verb"%%" and passed otherwise uninterpreted to \PMX\ before anything -else from that paragraph is translated. \NEW{0.41} If such a line -is found in a preamble paragraph, it is treated as a ``Type 4 \TeX\ string'', -\TeX\ string'' \index{TeX string@{\TeX\ string}!Type 4} -which means that it will eventually appear at the top of the \TeX\ file, -after \texttt{musixtex.tex} and \texttt{pmx.tex} have been read in. -Such lines should \emph{not} end with \verb"\". -An example appears in Appendix \ref{dirty}. -As in \TeX, a line starting with only one \ttxem{\%} is treated as a -\ixem{comment}: such lines do not appear in the \PMX\ file. - -If you ever need to pass through something involving stave or instrument -numbers, remember that \PMX\ and MusiX\TeX\ number these from bottom to -top, not from top to bottom, and that the ``first voice'' in \PMX\ is the -\emph{bottom stave} to \MTx. - -Apart from the conversion of lyrics and chord lines into \PMX\ commands -(which is the main job of \MTx) the notes are modified in various ways. -\begin{itemize} - \item Octave is inserted into the first note of each voice, depending -on the \NEW{0.54} \texttt{Octave} command, or if none is supplied, -on the clef. -Absolute \ixem{octave} numbers are not recognized by \MTx\ and -may cause unexpected side effects. You can get something like absolute -octave numbers by combining \verb"=" with \verb"-" or \verb"-". This -may cause an irritating but harmless error message about backward -incompatibiliy at the PMX stage. - \item If a line is vocal, an \ttxem{a} is inserted into quavers and -shorter notes when not under slurs, to protect them from being beamed. - \item Duration codes are inserted into all notes and rests before any -serious processing is done. - \item Long/short note groups are expanded into separate notes. -Although \PMX\ allows these shortcuts, lyrics -cannot be properly synchronized unless the groups are expanded. - \item \PMX\ syntax allows great freedom in the order in which -different parts of a node are coded. \MTx\ is not aware of -all the subtleties, but extracts only those parts of which it needs to -be aware, and reassembles the note afterwards. - \item Labels in the range - \texttt{I} to \texttt{T} are inserted into unlabelled slurs and ties. \NEW{0.55} - You should therefore avoid those labels for slurs that you label yourself. - \item Chord lines are expanded into standard \PMX\ code and inserted -into the main line for each voice. - \end{itemize} - -Other ways in which an \MTx\ score differs from a native \PMX\ score in -more than layout are: a bar line is \emph{required} for a \ixem{pickup}; -\ixem{repeat} bars -are coded by the \ABC\ symbols instead of \ttxem{Rl} etc.; you don't -need to insert a meter change for an incomplete \ixem{final bar}: -\MTx\ does it. - -All the ability of \PMX\ to pass through \TeX\ (including MusiX\TeX) -commands is still there. You might for example like to read the -\ttxem{musixlyr} documentation for a large variety of ways to -fine-tune horizontal lyrics placement, but I can promise that you hardly -ever will need to do horizontal tuning except to align multi-verse lyrics as -in Section \ref{fine-tune-lyrics}. - - -\pagebreak -\section{Annotated examples} - \subsection{Voltas} \label{voltas} - \hskip -12mm -\begin{mus} - \input volta.tex -\end{mus} -\verbatiminput{volta.mtx} -The main rule is: put every \ttxem{V} command in the \emph{bottom} voice -at the start of a measure, -after the bar line (if any) but before the first note, and don't try -to use more than one at a time: the new volta automatically closes the -old one. Volta signs in other voices are silently ignored. -When reading the \PMX\ manual, remember that \emph{your} last part will -become the first part for \PMX. - -In the above example \texttt{V1} starts a volta box, -but to get the first volta box to be closed at the end, you must later -say \texttt{Vb}. Also, to get the text \texttt{2} into the ``second ending" -box, you add the \texttt{2} -after the \texttt{Vb} to make \verb"Vb2". Finally, to make the second -box open ended, you must enter \texttt{Vx} at the point you want it to be -done. (If you forget to enter the \texttt{Vx} after your last volta box, you -will get a strange unwanted volta box at the end of your piece.) - -This example also illustrates the interplay between \ttxem{Space} -and \ixem{\atsign} required for proper spacing of lyrics when there -is stuff above the staves. -\hfill --- \textsl{Contributed by Joel Hunsberger} - -\subsection{Music size} \label{sizes} - -\verbatiminput{title1.mtx} -\begin{center} -\begin{mus} - \input title1.tex -\end{mus} -\end{center} - -The above does not look quite right, for a complicated reason. -A piece as a whole has a basic music size, and then each stave can have its -own ``local'' size. The local size affects everything on the stave itself, -but not the annotations, ornaments etc. The range of legal basic sizes -is quite small: \PMX\ allows only 16-point and 20-point. -In this example, the basic size is 20-point and the local size 29-point. - -To get the perfectly matched annotations displayed on the title page of this -manual, the -input looks like this: -\verbatiminput{title.mtx} -MusiX\TeX\ has four size commands relative the basic size (called -\verb"\normalsize"). These commands affect all music fonts. They are: - -\hskip 15mm -\begin{tabular}{lrr} -\keyindex{smallmusicsize} & 13pt & 16pt \\ -\keyindex{normalmusicsize} & 16pt & 20pt \\ -\keyindex{largemusicsize} & 20pt & 24pt \\ -\keyindex{Largemusicsize} & 24pt & 29pt -\end{tabular} - -There is no \verb"\tinymusicsize", although several of the music fonts are -individually available in 11-point size. - -\pagebreak \subsection{A psalm tune} -\hskip -20mm \begin{mus} - \input psalm42.tex -\end{mus} -\vskip 12pt -\verbatiminput{psalm42.mtx} -\begin{itemize} - \item \verb"Meter: 0/2" indicates counting in half-notes, but no bar -lines. - \item Line breaks in the \texttt{Title} are made by \verb"\\". -\end{itemize} - -\pagebreak -\subsection{Beams, slurs and melismas} \label{melisma} - -% Macros for music examples - -\example{melisma1}{mtx}{60mm}{4mm}{90mm}{-5mm}{c}{5mm} - -\example{melisma2}{mtb}{60mm}{4mm}{90mm}{-10mm}{b}{5mm} - -\example{melisma3}{mtb}{60mm}{4mm}{90mm}{-10mm}{b}{5mm} - -\example{melisma4}{mtb}{60mm}{4mm}{90mm}{-15mm}{b}{5mm} - -\example{melisma5}{mtb}{60mm}{4mm}{90mm}{-10mm}{b}{5mm} - -\example{melisma6}{mtb}{60mm}{4mm}{90mm}{-15mm}{b}{5mm} - -\bigskip\bigskip - -Some points to note: Example 1 uses a slur with default PMX beaming, -Example 2 uses forced beaming to beam all notes, -Example 3 does both. Examples 4 and 5 violate the \MTx\ convention -that notes sung to a single syllable must be slurred or beamed together, -so we override this in either of two ways using \texttt{musixlyr} -commands. Example 4 uses \verb"\beginmel" and \verb"\endmel" -to force melismas in a situation where \verb"[[" has suppressed them; -this method is good for long melismas -over several beamed components. Example 5 suppresses lyrics where -the beaming would have put them. -Example 6 uses \verb"\lyr" to force lyrics where the beaming -would have suppressed them, and shows the use of empty -syllables to synchronize lyrics and of broken slurs to indicate different -slurring in the two verses. -\hfill --- \textsl{Suggested by Stefan Haller} - -\pagebreak -\subsection{Dirty Tricks} \label{dirty} \NEW{0.41} - -\verbatiminput{meter.mtx} -\begin{center} -\begin{mus} - \input meter.tex -\end{mus} -\end{center} - -These are bars 7--9 of the \emph{Credo} from \emph{Misa Criolla} -by Ariel Ram{\'\i}rez. It is in the \emph{chacarera trunca} meter, which -mixes $\frac34$ and $\frac68$ time. There is no \PMX\ construction for -such \ixem{exotic meters}, so we need to be ingenious. - -We specify the meter as \verb"m3406" -which tells \PMX\ to use $\frac34$ meter but to print the C symbol for common -time. Of course we do not actually want the C symbol, we want something -that looks like $\frac34(\frac68).$ Now all that \PMX\ knows about the C -symbol is that it is called \verb"\meterC" in MusiX\TeX. So we define -\verb"\chacarera" and assign it to -\verb"\meterC" in preamble \verb"%%" commands. These appear in the \TeX\ -file after the command to read in \texttt{musixtex.tex} but before the -commands that actually print something. If later we need the original -\verb"\meterC" it can be restored by \verb"\let\meterC=\oldmeterC". - -The excerpt illustrates some sophisticated \PMX\ features too. -Since the \verb">" ornament on the bottom stave -goes above the stave by default, we -need to move it down explicitly. The beamed eighths look better with -a horizontal beam, which is enforced by \verb"[h." Finally, there is -a tie involving a melodic note with a note in a chord; to allow this, -the chordal note must -come on a music line, not on a \texttt{C:} line. -\pagebreak - -\subsection{Extra text after the piece} \label{extra} \NEW{0.50} - -\verbatiminput{borup.mtx} - - -When typesetting a vocal composition you may sometimes want to put only the -text of the initial stanza into your score and let the remaining part of the -lyrics be printed below the score. You might also want to add some notes or -comments. - -Apparently this is not possible according to the set of commands available -for \MTx\ and \PMX. There is, however, a workaround to do things like -that. The trick is to look for a command \keyindex{Endpiece} or --- as in -this example --- \verb'\setrightrepeat\endpiece' near the bottom of the -MusiX\TeX\ file generated by the \PMX\ preprocessing. You may extend the -actions of \verb'\Endpiece' (or \keyindex{endpiece}) by saving the command -with another name (\verb'\endpiecesav') and redefine \verb'\Endpiece' -to first execute \verb'\endpiecesav' and then request the inclusion of -one or more files containg plain \TeX\ code. The text of the included -file(s) will be typeset on unutilized space on the last page or else on -a new page. - -MusiX\TeX\ commands like these may --- as noted in Appendix \ref{usefulPMX} ---- be put directly into the mtx source file in \verb"%%"-lines at the -head of the first music paragraph. - -In the current example two files have been included. \texttt{lyrics.tex} -contains the original Latin lyrics and an English translation. A \TeX\ -table\footnote{See Michael Doob: A Gentle Introduction to \TeX, section -6.2. The book may be found as \texttt{gentle.tex} in the Documentation -subdirectory of the \TeX\ CTAN mirror archives.} consisting of a template -line followed by item lines for each lyrics line has been used to set -up the text in two columns - one for the lyrics and one in italics for -the translation. Notes on the song is included from \texttt{notes.tex} -and appended below the lyrics. -\hfill --- \textsl{Contributed by Christian Mondrup, following a hint by -Werner Icking} - -\verbatiminput{notes.tex} -\pagebreak - -\verbatiminput{lyrics.tex} - -\hskip -20mm -\begin{mus} - \input borup.tex -\end{mus} - -\pagebreak - -\section{\MTx\ and \LaTeX} \NEW{0.54} - -\textit{This section assumes that you have some knowledge of -\LaTeX.} - -The normal output from \PMX\ is a stand-alone plain \TeX\ file, which -cannot without further ado succesfully be input into \LaTeX. -The file \ttxem{mtxlatex.tex} allows you to prepare music scores using -\LaTeX\ rather than plain \TeX, which is particularly useful when you -need the enhanced font handling features of \LaTeX, and to produce -books combining the outputs of several \PMX\ runs into a single -document, such as a collection of songs, or a mainly text document - (like this one) with many small music excerpts. - -Two points apply to all cases: -\begin{enumerate} - \item Order of inclusion of packages is important. \texttt{mtxlatex} - must be the first package included, before any font packages. - \item It is easy to incur \ttxem{TeX capacity exceeded}. For -example, the index to this manual is a separate document because -package \texttt{multicol} won't load on top of all the others. -If you wish to do large scores, it is probably advisable to change -\texttt{texmf.cnf} so that \verb"save_size = 10000" and run -\texttt{initex}. -\end{enumerate} - -\subsection{Collections of complete pieces} - -Suppose you need to make a document containing several complete -pieces, with -perhaps a title page, a foreword and an afterword, like a typical -published book of piano pieces or songs. -\begin{enumerate} - \item Prepare a \texttt{.tex} file for each separate piece, using the methods -described previously, and be sure that it is fully debugged and looks -the way you want it, using the standard \texttt{tex-musixflx-tex} -compiling cycle. - \item Write a \LaTeX\ file looking something like this: -\verbatiminput{hallelujashort.ltx} - \item Use a \texttt{latex-musixflx-latex} -compiling cycle to make the finished document. - \item If you make small changes in the \LaTeX\ part only, a single -\LaTeX\ pass is sufficient, unless the page numbering has changed. -\end{enumerate} -You can see the finished product in \texttt{halleluja.pdf}. -Some points to note: -\begin{itemize} - \item The package \texttt{mtxlatex} comes with \MTx. -You must put the command \keyindex{mtxlatex} in the preamble. - \item The package \texttt{times} comes with standard distributions. -You could use any \LaTeXe\ font package here. The \texttt{times} -font is quite narrow and therefore useful when the lyrics are crowded. -If you do use a font a package, load it \emph{after} \texttt{mtxlatex}. - \item \verb"\pagestyle{headings}" puts page -numbers and running headings at the top of the page. - \item To change fonts, use pure \LaTeXe\ -\ixem{font change} commands, as above. Don't try to use \verb"\it", \verb"\bf" -etc. Briefly, subject to what fonts you have installed, -you can independently change: - \begin{description} - \item[size] \verb"\tiny", - \verb"\scriptsize", \verb"\footnotesize", \verb"\small", - \verb"\normalsize", \verb"\large", \verb"\Large", \verb"\LARGE", - \verb"\huge", \verb"\Huge"; - \item[shape] \verb"\upshape", \verb"\itshape", \verb"\slshape", - \verb"\scshape"; - \item[family] \verb"\rmfamily", \verb"\sffamily", \verb"\ttfamily"; - \item[series] \verb"\mdseries", \verb"\bfseries". - \end{description} -For a full description, see any good \LaTeXe\ manual. - \item The blank line after \verb"\pagebreak" is essential. - \item The environment \ttxem{Score} is used to include each piece. -It takes two arguments: the first will appear in the list of -contents and as a running page heading; the second is the name -of the \texttt{.tex} file. As usual, the extension \texttt{.tex} -may be omitted. There is also an environment \ttxem{score} -which is less convenient but more flexible: it has no arguments, -reads in nothing, puts nothing in the table of contents, and -does not change the running page heading. Use it when you need -a special lyrics font, e.g. -\begin{verbatim} -\begin{score} \headingandcontents{Loof nou die Heer} - \sffamily \input loofnou -\end{score} -\end{verbatim} -\end{itemize} - -\subsection{Collections of morsels} - -The situation is a little different when the pieces are so short -that more than one of them fit on one page. For these, use the -environment \ttxem{excerpts}, as in the following example: -\verbatiminput{kanons.ltx} -The rest of the procedure is the same as for collections of longer -pieces. -You can see the finished product in \texttt{halleluja.pdf}. -Some points to note: -\begin{itemize} - \item The \texttt{excerpts} environment redefines the heading fonts -to more modest sizes. - \item A page break should be made before quitting the environment. - \item The pieces do not have bar numbers, but space should be reserved -for the numbers that show where the voices enter. This is done -by redefining the \keyindex{writebarno} command. -\end{itemize} - -\subsection{Documents with small music excerpts} - -This manual relies heavily on the \ttxem{mus} environment. -For example, the -musical emblem on the front page was set using the commands -\begin{verbatim} -\begin{center} - \framebox[5in]{\parbox{3.6in}{ - \begin{mus} \input title.tex \bigskip \end{mus} - }} -\end{center} -\end{verbatim} -Some points to note: -\begin{itemize} - \item The excerpts vary in length and some experimentation is -required to get the dimensions and positioning just right. - \item Putting the \texttt{mus} environment inside a \texttt{center} -environment only works when the music line is not longer than the text. -Otherwise, it is useful to use \verb"\hskip", as in the case of the -first example in the manual: -\begin{verbatim} -\hskip -18mm -\begin{mus} -\input mozart0.tex -\end{mus} -\end{verbatim} -For this technique to work properly, it is essential that the above four -lines form a paragraph of their own, i.e.\ they are preceded and -followed by blank lines. -\end{itemize} - -Appendix \ref{melisma} was produced using the command \keyindex{example}. -This is a rather complicated macro with eight parameters, which is -documented at the end of the file \ttxem{mtxlatex.sty}. - -\section{Overriding predefined \TeX\ commands} \NEW{0.54} - -\textit{This section assumes that you are an experienced \TeX\ -user. } - -The logical structure of \TeX\ is such that most of the time, a command used -in a definition need not exist at the time that the definition is made, -as long as it is defined by the time that the definition is used. This -behaviour is known to computer programmers as \emph{run-time binding}. - -We have already met examples of how to exploit this feature in Sections -\ref{dirty} and \ref{extra}, where respectively \verb"\meterC" and -\verb"\Endpiece" were redefined. -The macros of the previous section also work in that way, by locally -(i.e.\ inside the various environments) redefining commands that appear -in the \TeX\ file generated by \PMX. - -The technique is an extremely powerful and flexible one, and in the -hands of an expert can achieve practically any desired result. -Here we can only scratch the surface. One point to note is that -good programming practice requires that you save the current meaning -of the command and restore it later, e.g. -\begin{verbatim} - \let\commandsave\command\def\command{...} - ... - \let\command\commandsave -\end{verbatim} -In \LaTeX, if you redefine a command inside an environment, the saving and -restoring is automatic. - -\subsection{Changing fonts} - -The font used for lyrics is the default text font of the moment, -which usually is ten-point roman. -It can be changed globally, e.g. -\verb"%% \twelverm" in the preamble will change the font to -twelve-point. When using \LaTeX, you can use font-changing commands -inside the environment to change the lyrics font only for that -particular piece. - -The fonts used for titles and other items in headers are respectively -called \keyindex{BIGfont} and \keyindex{Bigfont}. In \verb"mtxlatex.sty" -they are redefined as follows: -\begin{verbatim} -\renewcommand{\BIGfont}{\Huge\bfseries} -\renewcommand{\Bigfont}{\Large} -\end{verbatim} -If you are not using \LaTeX, they can be redefined in two ways: -\begin{itemize} - \item You can simply assign an existing font, e.g.\ to get - somewhat smaller fonts,\\ -\verb" \let\Bigfont\bigfont\let\BIGfont\BIgfont" - \item You can define the font explicitly, e.g.\ \\ -\verb" \font\BIGfont=cmss9 scaled \magstep4" -\end{itemize} - -\subsection{\Large \texttt{mtx.tex}} \label{mtxtex} - -The \MTx\ preprocessor, as far as possible, issues commands starting -with \verb"\mtx" instead of direct \TeX\ commands. The main purpose -for so doing is that the user can modify their effect by redefining -them in the source file. These macros, together with a few others -that make life easier, are collected in the file \ttxem{mtx.tex}. - -Documentation of these commands can be found at the end of the file -\texttt{mtx.tex}. - -%\pagebreak - -%\printindex -\end{document} - -\endinput - -so it is a good idea to use \texttt{musixlyr} commands -for left-alignment (\keyindex{llyr}) and horizontal shift -(\keyindex{lyroffset}) on the corresponding music line, for example: -\begin{verbatim} -\llyr\lyroffset{-2}\ d | g g ( a8 b ) | g4 g ( b8 c ) | d4 d e | c2 -L: 1. A-way in a man-ger, no crib for his bed, -L: 2. The stars in the bright sky looked down where He lay. -\end{verbatim} - diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/mtxindex.tex b/Master/texmf-dist/doc/generic/m-tx/mtx060/mtxindex.tex deleted file mode 100644 index 5015e7f58fe..00000000000 --- a/Master/texmf-dist/doc/generic/m-tx/mtx060/mtxindex.tex +++ /dev/null @@ -1,18 +0,0 @@ -\documentclass[11pt]{article} -\input musixtex -\usepackage{a4wide,mtxdoc,multicol,charter} -\def\LBR{{\tt\char'173}} -\def\Bslash{\tt\char'134} -\def\Flat{{\musixfont\char'062}} -\def\Sharp{{\musixfont\char'064}} -\def\mtxSharp{\mbox{\raise1ex\hbox{\Sharp}}} -\def\mtxFlat{\mbox{\raise1ex\hbox{\Flat}}} -\begin{document} -\setcounter{page}{1} -\pagebreak -\renewcommand{\thepage}{I-\arabic{page}} -If you can't find what you need here, also try the Table of Contents. -Other sources of help are listed in Appendix A. - -\input mtxdoc.ind -\end{document} diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/mtxlatex.sty b/Master/texmf-dist/doc/generic/m-tx/mtx060/mtxlatex.sty deleted file mode 100644 index 6061de4b40b..00000000000 --- a/Master/texmf-dist/doc/generic/m-tx/mtx060/mtxlatex.sty +++ /dev/null @@ -1,91 +0,0 @@ -% mtxlatex.sty: Macro package to make music scores using Latex -% or produce LaTeX documents containing music examples -% Dirk Laurie dlaurie@na-net.ornl.gov 2001-12-27 -% Update: see \mtxdate below -% Some comments on usage appear at the bottom - -\ifx\mtxlatex\undefined\else\endinput\fi - -\def\MTx{\mbox{\textbf{\textsl{M-Tx}}}} -\def\PMX{\textbf{PMX}} -\def\musixlyr{\texttt{\textbf{musixlyr}}} - -\input musixtex -\input musixltx - -% Preamble TeX commands for documents that contain .ex files -% generated by M-Tx/PMX - -\def\mtxlatex{ -\input musixmad -\def\mtxversion{mtxLaTeX} -\def\mtxdate{<16 March 2005>} -\input mtx -\renewcommand{\BIGfont}{\Huge\bfseries} -\renewcommand{\Bigfont}{\Large\bfseries} -% Kill the PMX definition of \parskip. -\parskip=0pt plus 1pt -} -% Extra vertical space evenly spread between systems -\renewcommand\alaligne{\stoppiece\vfill\contpiece} -\def\scoreheight{\textheight 260mm} -\def\scorewidth{\textwidth 193mm} - -\newcommand{\startscore}{\let\SmuF\startmuflex\let\EmuF\endmuflex -\scorewidth\scoreheight -\oddsidemargin -15mm\evensidemargin -15mm\topmargin -20mm -\ifx\mysizes\undefined\else\mysizes\fi -\let\startmuflex\relax\let\endmuflex\relax\let\bye\relax% -\let\nopagenumbers\relax\musicparskip} -\newcommand\headingandcontents[1]{\markboth{#1}{#1}\addcontentsline{toc} - {section}{\protect\numberline{}{#1}}} - -% The environment 'Score' is suitable for scores submitted to the -% Werner Icking music archive -\newenvironment{Score}[2]{\headingandcontents{#1} -\startscore\input #2 -}{\markboth{}{}} - -% The environment 'score' requires you to do your own input -\newenvironment{score}{\startscore}{} - -\newenvironment{excerpts}{ -\newlength\keepOSM\setlength\keepOSM\oddsidemargin -\newlength\keepTM\setlength\keepTM\topmargin -\global\setlength\oddsidemargin{-13mm} \global\setlength\topmargin{-20mm} -\let\startmuflex\relax\let\endmuflex\relax -\let\nopagenumbers\relax \let\bye\relax \let\vfill\relax \let\eject\relax -\musicparskip -\renewcommand{\BIGfont}{\Large\bfseries} -\renewcommand{\Bigfont}{\large\bfseries} -}{\global\setlength\oddsidemargin\keepOSM\global\setlength\topmargin\keepTM} - -\newenvironment{mus}% -{\begin{minipage}{260mm}\startscore\musicparskip}% -{\assignlyrics1{}\assignlyrics2{}% -\gdef\mtxTitle{}\end{minipage}} - -\def\example#1#2#3#4#5#6#7#8{ -\noindent\begin{minipage}[t]{#3} -\begin{mus} \vskip #6 -\input{#1.tex} -\end{mus} -\end{minipage}\hskip #4 -\begin{minipage}[#7]{#5} \vskip #8 -\verbatiminput{#1.#2} -\end{minipage}} - -\endinput - -============================================================================ - -\example{basename}{ext} - {musicwidth}{separation}{codewidth} - {musicvskip}{alignment}{codevskip} - -Set music example together with M-Tx (or other) code. - -basename - musicfile is basename.tex -ext - codefile is basename.ext -separation - distance between music and code minipages -alignment - c, t or b (for code minipage) diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/netfirst.mtx b/Master/texmf-dist/doc/generic/m-tx/mtx060/netfirst.mtx deleted file mode 100644 index 8a902b00a1a..00000000000 --- a/Master/texmf-dist/doc/generic/m-tx/mtx060/netfirst.mtx +++ /dev/null @@ -1,15 +0,0 @@ -Title: Net soos ek is -Composer: Charlotte Elliott -Style: SATB -Sharps: 2 -Meter: 3/4 -Space: 9 - -%% w190m -f f f | e2s e4 | f2 b4 | a2d | g4 g g | f2 f4 | g2 c4n | b2d | -d d d | d2r d4r | d2 d4 | d2d | e4 e e | d2s d4 | e2 f4 | f2d | -L: 1. Net soos ek is, geen hulp na-by, al-leen U bloed ge-stort vir my, -L: 2. Net soos ek is, nooi U vir my, ver-ge-we, rei-nig en be-vry. -L: 3. Net soos ek is, U lief-de teer werp al-le hin-der-pa-le neer. -a a a | g2s g4 | a2 g4 | a2d | b4 b b | c2n c4 | b2 e4 | ds2d | -d d d | d2 d4 | d2 g4 | f2d | e4 e e | a2 a4 | g2 g4 | b2d | diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/netsoos.mta b/Master/texmf-dist/doc/generic/m-tx/mtx060/netsoos.mta deleted file mode 100644 index 6e126843cb4..00000000000 --- a/Master/texmf-dist/doc/generic/m-tx/mtx060/netsoos.mta +++ /dev/null @@ -1,6 +0,0 @@ -Style: SATB -Sharps: 2 -Meter: 3/4 -Space: 9 - -%% w190m diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/netsoos1.mtb b/Master/texmf-dist/doc/generic/m-tx/mtx060/netsoos1.mtb deleted file mode 100644 index 43b015fe49c..00000000000 --- a/Master/texmf-dist/doc/generic/m-tx/mtx060/netsoos1.mtb +++ /dev/null @@ -1,7 +0,0 @@ -b4 b c | d2 a4 | g2 a4 | f2 f4 | e2 a4 | ( d4 c ) b | a2d | -g4 g e | d2 d4 | d2 c4 | d2 d4 | b2 e4 | ( f4 e ) d | c2d | -L: ge-trek tot U deur-boor-de sy, O Lam van God, ek kom. -L: Op U be-lof-te steun ek bly; O Lam van God, ek kom. -L: Dan wy ek my vir e-wig, Heer; O Lam van God, ek kom. -b4 b bf | a2 a4 | b2 a4 | a2 a4 | g2s a4 | a2 g4s | a2d | -e4 e g | f2 f4 | e2 a4- | d2 d4 | d2 c4 | ( b4 e ) e | a2d | diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/netsoos2.mtb b/Master/texmf-dist/doc/generic/m-tx/mtx060/netsoos2.mtb deleted file mode 100644 index 1d971a9fed0..00000000000 --- a/Master/texmf-dist/doc/generic/m-tx/mtx060/netsoos2.mtb +++ /dev/null @@ -1,8 +0,0 @@ -@+5 b4 b b | b2d | a4 a a | a2d | d4 e- f | g2 e4 | d2d of |] -L: Net soos ek is, net soos ek is, O Lam van God, ek kom. - d4s g f | e2d | e4 f e | d2d | d4 dr d | d2 c4 | d2d |] -@^+5 rp+6 | b4 e d | c2d | a4 d c | ( b2d | b2 ) g4 | f2d |] -LT: Net soos ek is, O Lam van God, ek kom. - a4 a a | g2d | g4 g g | f2d | b4- g+ f | e2 a4- | d2d ofd |] -L: Net soos ek is, net soos ek is, O Lam van God, ek kom. - diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/notes.tex b/Master/texmf-dist/doc/generic/m-tx/mtx060/notes.tex deleted file mode 100644 index 02d08b1b4ff..00000000000 --- a/Master/texmf-dist/doc/generic/m-tx/mtx060/notes.tex +++ /dev/null @@ -1,6 +0,0 @@ -% ------- file notes.tex ---------------------------------------- -\vskip 10 mm -\noindent Lyrics by Morten B\o{}rup, 1446-1526, headmaster at the -grammar school of Aarhus. The song was published \par -with an anonymous melody in \it Piae Cantiones -\rm by Theodoricus Petri, Greifswald 1582. diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/pdfcat b/Master/texmf-dist/doc/generic/m-tx/mtx060/pdfcat deleted file mode 100755 index fd773f76903..00000000000 --- a/Master/texmf-dist/doc/generic/m-tx/mtx060/pdfcat +++ /dev/null @@ -1,32 +0,0 @@ -#!/bin/sh - -# pdfcat.sh -# Thanks to Christian Mondrup for this script - -FILENAME=`basename $0` - -USAGE="Usage: $FILENAME [-a (A4 paper)] -o outputfile -i \"inputfile1 inputfile12 ...\"" - -if [ $# -le 3 ] -then - echo $USAGE - exit 2 -fi - -GSARGS="-q -dNOPAUSE -dBATCH -dSAFER -sDEVICE=pdfwrite" - -while getopts "i:o:a" ARG_STRING -do - case $ARG_STRING in - a) GSARGS="-sPAPERSIZE=a4 $GSARGS" - ;; - i) INPUTFILES=$OPTARG - ;; - o) OUTPUTNAME=$OPTARG - ;; - *) echo $USAGE - exit 2;; - esac -done - -gs $GSARGS -sOutputFile=$OUTPUTNAME $INPUTFILES diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/psalm42.mtx b/Master/texmf-dist/doc/generic/m-tx/mtx060/psalm42.mtx deleted file mode 100644 index c5ad930720a..00000000000 --- a/Master/texmf-dist/doc/generic/m-tx/mtx060/psalm42.mtx +++ /dev/null @@ -1,15 +0,0 @@ -Meter: 0/2 -Style: Singer -Sharps: 1 -Title: Psalm 42\\{\textit{\normalsize Ainsi que la biche r\'ee}} - -@0 g2 a4 b2 a4 g f e2 d2 \caesura\ g2 a4 b2 c4 b2 a g :| -L: Soos 'n hert in dor-re stre-ke, skreeu-end dors na die ge-not -L: van die hel-der wa-ter-be-ke, skreeu my siel na U, o God. - -@+1 b2 b4 d2 c4 b a b2 \caesura\ d2 d4 e2 d4 c b a2 -L: Ja, my siel dors na die Heer, na die Le-wens-bron. Wan-neer - -b2 d4 c2 b4 g a b2 g2 \caesura\ b2 b4 c2 b4 a g f2 g2 -L: sal ek sien in klaar aan-skou-e? Op die Heer is my ver-trou-e. - diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/sanctus.mtx b/Master/texmf-dist/doc/generic/m-tx/mtx060/sanctus.mtx deleted file mode 100644 index 102a400cc80..00000000000 --- a/Master/texmf-dist/doc/generic/m-tx/mtx060/sanctus.mtx +++ /dev/null @@ -1,13 +0,0 @@ -Title: Sanctus -Composer: Jacobus Clemens non Papa -Flats: 1 -Meter: C -Style: Singer -Systems: 2 -Size: 20 -%% \hidebarrule1 - -U: !bf 1 | | 2 | | 3 | | 4 | | 5 -(~ c4+.b a of g f e d2 )~ { c2 c4 } of (~ c4 f g a g8 f g2 )~ f4 of (~ c+ d c2 b8 a b4 g cd of b8 a4 g2 { f4 f } e )~ fd of (~ g8 a b c4 )~ f2- -L: Sa-nctus, sa-nctus, sa-nctus, sa-nctus. - diff --git a/Master/texmf-dist/doc/generic/m-tx/mtx060/title.mtx b/Master/texmf-dist/doc/generic/m-tx/mtx060/title.mtx deleted file mode 100644 index 2bee58c2706..00000000000 --- a/Master/texmf-dist/doc/generic/m-tx/mtx060/title.mtx +++ /dev/null @@ -1,8 +0,0 @@ -Bars/line: 2 -Style: Solo -Meter: m3400 - -%% w3.7i \\Largemusicsize\ -U: @' +where the sign starts, and \verb'<.' or \verb'>.' where it ends. +This feature gives unpredictable results when you try to use it +in more than one voice at the same time. + \item +Put e.g.~\verb"<18" or \verb">7" where the sign starts. +\NEW{0.42} The number gives the length of the crescendo in elementary +skip units or +``elemskips''.\footnote{It is quite technical to define precisely how +long an \ixem{elemskip} is. The important thing about them is that they +stretch or shrink with spacing of the notes, so that if say a half-note +is followed by two elemskips in one place, it will be followed by two +elemskips everywhere.} + \end{enumerate} + +\end{itemize} + +\subsection{Lyrics paragraphs} + +You may prefer to have all the lyrics for a particular voice together +in one paragraph. To do this, the first line of the paragraph consists +of a name for the group of lyrics in braces, e.g.~\verb'{verse1}'. + +When you later wish to use these lyrics, you put a list of names on a lyrics +line where you would normally have put the lyrics, e.g. +\verb'L: {verse1,verse2}' replaces: +\begin{verbatim} +L: Lyr-ics for the first verse +L: Lyr-ics for the second verse +\end{verbatim} +You do not repeat this instruction in the next paragraph, but if the voice +concerned no longer has lyrics attached to it, you should indicate that by a +blank lyrics line, i.e.~\verb'L:' by itself. + +A particular lyrics paragraph name should not be used in more than one +place. If two voices have exactly the same lyrics, you need only one lyrics +paragraph, but more than one name. E.g.~\verb'{soprano}={bass}' makes two +identical sets of lyrics, one to be used by \verb'L: {soprano}' and the +other by \verb'L: {bass}'. + +One useful property of lyrics paragraphs is to allow you to +switch lyrics in the middle of a line instead of between music paragraphs. +\NEW{0.40} +This is only allowed if the voice in question already possesses lyrics: +it cannot be used to replace the \texttt{L:} line. E.g. + \verb"a b {chorus} c d" +means that starting at the note \texttt{c} lyrics will be taken +from the lyrics paragraph labelled \verb"{chorus}", and + \verb"a b {} c d" +means that lyrics are switched off at that point. + +\subsection{Long/short note combinations} \label{longshort} + +Passages containing dotted notes \index{notes!dotted} +require duration changes for every note: + +\verb"c8d g1 c8d g1 c8d g1 c8d g1 c4" \\ +There is a shorthand notation for this, namely: + +\verb"c8.g c.d c.g c.d c" \\ +The first note in a dotted group may have an explicit duration, which then +becomes the default duration, but the second must not. There is a similar +shortcut\NEW{0.51} \verb"c..d" for double-dotted notes. + +When the dotted note appears not in a group but on its own, as in triple and +compound time (3/4, 12/8 etc.), you must use a \ttxem{d} to indicate the +dot, not a period. + +Similarly, in compound meter passages containing long and short notes +require frequent duration changes: +\verb"6/8 c8 g1 c8 d1 c8 g1 c8 d1 c8d" +The shorthand notation for this reads: +\verb"6/8 c8,g c,d c,g c,d cd" + +\subsection{Barless music} \NEW{0.40} + +Many old hymn tunes do not fit into the modern pattern of regular bars. +You could get this effect by carefully counting the length of each music +line and issuing your own blind meter \index{blind!meter~change} +change instructions. + +Instead, specify in the preamble that you have zero beats per bar. +E.g.~\verb"Meter: 0/4" means that each paragraph of music +should be treated as a single bar, and that the basic counting unit is +a quarter-note. You need not issue any other meter change instructions. +\MTx\ will check that each of the lines in the paragraph have the same total +duration, which must a multiple of the specified counting unit. + +\subsection{Sticky ornaments and suffixes} + +You may need to mark a whole run of notes as staccato. To do so, +put \verb'o.:' instead of \verb'o.' after the first staccato note and +\verb'o:' after the last one. This method also works with tenuto +and all the other \ixem{ornaments} in \ref{ornaments}. +The stickyness of ornaments lasts only till the end of the bar. + +On notes and rests there are many possible suffixes, some of which you have +already encountered and some of which are given in Appendix \ref{pmx}. There +are situations where you might wish to have several consecutive notes or rests +with the same attribute. The method is similar: put a colon (\texttt{:}) +after the letter involved on the first note of such a sequence, leave out the +letter on all the notes except the last,\NEW{0.50} on which you again put the +letter. For example, in \verb'12/8' meter you might have a passage moving at +four beats to the bar, normally coded \verb"c4d cd ed ed gd gd c2d", which +becomes \verb"c4d: c e e g g c2d" when you use this shortcut. The stickyness +of note and rest suffixes lasts until cancelled. + +Each voice is treated on its own, and notes and rests are considered +independently, so if you make the \verb'd' sticky on a note it will not affect +rests. My favourite application of this feature occurs in homophonic music +with two voices per stave: I prefer to have only one rest per stave rather two +rests, one on top of the other, and so I make all the rests in one of the +voices blank by marking the first rest of that voice. + +\subsection{Multi-bar rests} \label{rests} + +\NEW{0.40}It may happen that all the instruments in your score +simultaneously have a rest of two or more bars. In that case a succession +of empty bars may be difficult to count, and the conventional notation +is to put all the rests in a single bar, with the total number of +bars printed above them. The word for a \mark multi-bar rest is e.g.\ +\texttt{rm8} for a rest of eight bars. You code this for one voice only, +and there may be no other notes or rests on that line. The same rest +will be printed on all staves. + + +You can tune the appearance of the rest by appending a signed integer +to the word, e.g.\ \texttt{rm19+18}. \NEW{0.41}Roughly speaking, +this moves the front end of the rest to the right by 18 points. Since +multibar rests can have several shapes and may even contain as many as +three separate symbols (in the case of \texttt{rm7}) it is difficult to +describe precisely what happens and you are advised to experiment. + +\subsection{Skipping and including portions of a score} \label{multiscore} + +To read in another file at the start of a paragraph, \NEW{0.55} +use the \ttxem"Include:" directive, e.g.\ + + \verb"Include: mylayout.mti" + +The effect is exactly the same as if those lines had been part of the original +input file. The file thus included may also contain "Include:" +directives; there is no restriction on the number of levels. You may +re-include a file that was included before, but you may not include any +file that has already been included but has not yet been fully read. + +You may have various reasons for wanting \MTx\ to omit one or more lines of +your score. There are several ways to do so, of which the simplest is the +comment symbol \verb'%' that you have met before, which skips that one line. + +A line starting with \ttxem{SUSPEND} all in capitals, at the start of a +paragraph, tells \MTx\ to discard all following paragraphs until a line +starting with \ttxem{RESUME} all in capitals is found at the start of a +paragraph. The material in between must still be organized into paragraphs +that are not too large (see Appendix \ref{limits}) but need not in any other +way conform to \MTx\ input rules. + +A line starting with \ttxem{Only:} defines a subset of line numbers, +e.g.~\verb"Only: 1,3-7,9" defines the set \{1,3,4,5,6,7,9\}. \NEW{0.43} Only +the corresponding lines from all non-lyrics paragraphs after the paragraph +containing the \texttt{Only} are processed until another \texttt{Only} is +found. Any paragraph containing an \texttt{Only} is always fully taken into +account: it is not subjected to the masking action of any \texttt{Only}. +\emph{WARNING: this feature is deprecated and may behave differently in +or even be omitted from future versions.} + +You can also conditionally ignore portions of the score depending on a +compiler variable. \NEW{0.42} The compiler options \texttt{0} to \texttt{9} +identify ten special cases of a score. Together with the basic unnumbered +version of the score, you can therefore have up to eleven versions. A line +starting with \ttxem{Case:} at the start of a paragraph gives a list of those +cases that include the paragraph in question, e.g. \verb"Case: 137" +identifies a paragraph that is only included when one of the options +\texttt{1}, \texttt{3} or \texttt{7} was selected, either as a command option +or on and \texttt{Options:} line. + +All paragraphs headed by \texttt{Case:} occurring \emph{before} the first +music paragraph are treated as extensions of the preamble. The very first +music paragraph may therefore not start with \texttt{Case:}. + +For example, the score \texttt{cervus.mtx} of Palestrina's four-part +setting of Psalm 42 (see the \texttt{source} directory in the \MTx\ +distribution) is set up to give by default a score for the conductor with all +voices in 16-point type. When one of the \texttt{1}, \texttt{2}, \texttt{3} +or \texttt{4} options is specified, you get a score with one voice in 20-point +type and the others in 13-point. When the \texttt{0} option is given, +20-point is used throughout and the score is spread over three pages. + +%A combination of \texttt{Case} and \texttt{Only} allows you to make parts from +%a score in a flexible way, e.g.~only the chorus parts, or both flutes +%together, etc. The \texttt{Case} command can never be masked out by a +%previous \texttt{Only.} + +\subsection{Macros} \NEW{0.60} + +\MTx\ offers limited support for the \PMX\ macro feature, which is +a shorthand notation for pieces of text that appear often in your input. +In \PMX, you define macro number $i$ by \texttt{MS}$i$ and end it by \texttt{M}, +each a separate word, where $i$ is a number from 1 to 20. +Everything in between (which may not contain +any word starting with \texttt{M}) is not acted on, but only stored, +but when you later ``play'' the macro by the single word \texttt{MP}$i,$ +the effect is the same as if you had typed the text you defined earlier. +In other words, a \PMX\ macro works as a purely literal text insertion. +You can also start a macro definition by \texttt{MR}$i:$ this has the effect +of immediately playing the macro, not just storing it. + +The default behaviour in \MTx\ is to pass along such \texttt{M}-words +without looking at them, which in expert hands can be quite effective, +but for the rest of us is simply a disaster. +The problem is that in that case \MTx\ does not know that notes +are being inserted, let alone what their duration is. It is in the +position of a musician who has lost count. + +\MTx\ offers two solutions to this problem, either of +which you can \texttt{Enable} in the preamble. In both cases, macros +may only appear on music lines. +\begin{description} + \ttxi{expandMacro} All macros are fully expanded at the \MTx\ level. +The \PMX\ file will not contain any macros. If you use this feature, +you can have macros numbered from 1 to 99, and macro definitions +may contain plays of other macros. Error messages apply to the expanded +text and may be difficult to understand. + \ttxi{countMacro} \texttt{M}-words are still passed along, +but when a macro is defined, \MTx\ determines its duration +and counts correctly when it is played. +\end{description} + +If you have enabled \texttt{countMacro}, there is one unavoidable +restriction: a macro definition or play may not spill over into +the next bar. Hence the total duration of a macro may not be more +than what remains of the current bar. + +A word of caution: because you cannot see the macro +definition when you play it, it is easy to lose track of duration and octave. +It is therefore just sound common sense +to set duration and octave at the first note in the macro definition, +and at the first note after the macro play, to avoid mistakes. + +\hskip -18mm +\begin{mus} +\input macro.tex +\end{mus} +\vskip 12pt +\verbatiminput{macro.mtx} + +If you used \texttt{expandMacro} instead, the first music line +could have read \\ +\verb" MS1 c8=+ za zf zc M MR2 [u MP1 MP1 MP1 MP1 ] M MP2" \\ +in which case the first line of the second bar would only be \verb"MP2 MP2". +This is shorter for you to code, and in this case it works. +It is not always feasible to use macros within macros: +\texttt{expandMacro} works +by actually inserting the strings into \MTx\ input lines, which +may not be longer than 255 characters. Too many macro expansions, +and you hit your head against the ceiling. + +\section{Debugging aids} \NEW{0.61} \label{debugging-aids} + +The very compactness of \PMX\ music notation works against you +when debugging. One music paragraph looks very much like another. +Notes inherit pitch and duration from context, and when there is +a mistake, it is not easy to see where in a long music line that +context comes from. + +Octave mistakes have a way of accumulating, but only show up when +you see a typeset score full of leger lines way above or below the +stave. + +Left to itself, \MTx\ can and does check that all music lines end +at a bar ending, and that lines from the same paragraph have the +same length. But it cannot tell that which of two lines is wrong, +only that they are different. + +Many programmers use commenta lines \verb`% -- Bar 40 --` to help +them keep track of where they are in a score. This practice has +now been formalized as a debugging aid. + +Certain comments can be recognized by \MTx\ as assertions, allowing +additional correctness checks can be made. Apart from the comment +sign, they look like preamble commands, but are normally placed in +the music paragraph to which they apply. + +\begin{tabular}{ll} + +\verb"% Range: S=4d-5d, A=3b-4g" & Requests range checking for the specified voices. \\ +\verb"% Bar: 30-31" & If only one bar, give just one number. + +\end{tabular} + +The format used here for \ttxem{Range} checking puts the octave + before the note, e.g. \verb`4f`, to avoid confusion with \verb`f4` +in which the digit indicates duration. The error messages +use the same notation. + +Either of these comments may also appear in a preamble paragraph, +in which case they apply to the entire score. +% {-- Maybe later --} The first number in such a global \verb`Bar` +% is used to initialize the printed bar count. + +\subsection{Error messages} + +Most error messages will give a line number and say approximately +where the error was found. In that case, the original line is printed +with a marker at that point. Also printed is what has happened to that +line in the meantime, mostly explicit duration indications on every +note. + +If there is no line number (this mostly happens in the preamble) +the message in most cases deals with something that you should have +supplied. + +Sometimes the actual error may be on another line, e.g.\ when it is +found that music lines have a different duration, the first line +processed may be the one that is wrong, but the discrepancy is only +found later. + +Error messages generated by assertions can be a lot more informative +than others, and you are urged to exploit these. To find out what life +would have been like without them, you can always issue +`Disable: checkAssertions` in the preamble. + +\section{Acknowledgments} + +% In DPL-DOS/huis.tgz + +I still have the +\texttt{.tex} and \texttt{.dvi} files of my first attempt (in October 1992) +at setting music (Bach, no less) with the \mutex\ package of Andrea Steinbach +and Angelika Schofer. The first phrase goes: +\begin{verbatim} +\4\,\F\~\B\.\c\|\2\A\.\|\4\B\,\E\E\| \2\group{\\\E\\\d}{\\0\\{-1}}\lslur12\go\| +\end{verbatim} +In \MTx\ that would be + +\verb"f bd c8 | a2d | b4 e- e | ( e2 d4 )" \\ +A tantalizing glimpse of a preprocessor appeared in the \mutex\ +documentation, but the software for it was never released. + +None of this would have been possible without the late Daniel Taupin, +who was the first to emphasize that printed music has a fundamentally +two-dimensional layout, and whose MusiX\TeX\ package is the engine that +actually performs the typesetting. + +I made a previous attempt to implement something like \MTx\ as a direct +preprocessor to Music\TeX\ (Daniel's first package). My lack of +expertise caused that project to die. The appearance in January 1997 of +\PMX\ 1.1 inspired me to resurrect the idea --- thanks to Don Simons. +Don has also made some comments which helped me to improve the \MTx\ +input language. Some \MTx\ features that are implemented by using \TeX\ directly, +such as multi-bar rests in scores with more than one stave, make use of +MusiXTeX code written by Don. + +Since version 0.21, \MTx\ uses Rainer Dunker's \ttxem{musixlyr} package. +This gives much neater horizontal spacing of lyrics than the manual system +used in previous versions, and virtually eliminates the need for +horizontal tuning. + +Chris Walshaw's \ABC\ provided the repeat notation. + +The layout of \MTx\ bears some resemblance to a language developed by +Miguel Filgueiras, published in 1998 in \textit{Software Practice and +Experience}, although I did not consciously borrow his ideas. I have +been unable to find an implementation on the Internet. + +I had some enlightening e-mail correspondence with the developers of +MPP, Jan Nieuwenhuizen and Han-Wen Nienhuys. +This package (no longer maintained, unfortunately) was the first +music package which made me believe that one could write good-looking +scores in a reasonable amount of time. + +Eric Petersen, Reenen Laurie, Kestell Laurie and Joel Hunsberger found +several bugs in earlier versions of \MTx. Christian Mondrup did this for +\MTx\ 0.50 and later. + +The subscribers to the discussion list \mailingList\ --- +too many to name --- found many more and contributed to the development by +requesting new features. Details of these contribution are given in the +\ttxem{Corrections} file distributed with the \texttt{prepmx} code. + +The success of public domain music publishing owes an incalculable debt +to the late Werner Icking. He maintained an online archive for music +software and sheet music, set +standards for music typesetting, tested software packages, gave +genuinely expert advice to would-be experts, and encouraged newbies +with patience and understanding. When he died unexpectedly at a +comparatively young age, each of the small but globewide community of users +of MusiX\TeX\ lost a personal friend and mentor. +% His music archive as it was at the time of his death can still +% be accessed at \texttt{ftp://ftp.gmd.de/music} or +% \texttt{http://www.gmd.de/Music}. + +Werner's work is still being carried on: the software archive +and mailing list URLs are listed in Appendix A, while +the scores have been merged into the Petrucci Music Library (\scoreSite). + +My wife, Trienke, had to suffer many effectively husbandless evenings +and weekends while I hammered the program and documentation into good +enough shape to be able to offer it around. + +\appendix +\setcounter{page}{1} +\renewcommand{\thepage}{A-\arabic{page}} + +\section{Where to find help} \label{help} + + \MTx\ is the tip of an iceberg. Things can go wrong at many levels. +Fortunately, here are many ways to get information and help. +\begin{itemize} + \item Consult the Table of Contents and \emph{index} in search of + a likely-looking topic. + \item The annotated examples might be useful. + \item There is a file \texttt{FAQ} in the distribution that contains + the sort of questions that new users often ask. + \item The packages on which \MTx\ relies all have their own reference + manuals. Look for the following files: + \begin{description} + \item{\PMX:~} \texttt{pmx270.pdf}, \texttt{ref270.pdf} + (these names will obviously be different + if your \PMX\ is not Version 2.70); + \item{\musixlyr:~} \texttt{musixlyr.pdf}; + \item{MusiX\TeX:~} \texttt{musixdoc.dvi}. + \end{description} + \item The archive site at \begin{quote}\archiveSite \end{quote} + hosts not only the mailing list archive but also several tutorials + in various languages on MusiX\TeX\ and \PMX. + \item Join the \ixem{mailing list} by filling in the form +at \\ +\texttt{http://tug.org/mailman/listinfo/tex-music}. +\end{itemize} + +\section{A short \PMX\ tutorial} \label{pmx} + + This section describes the parts of \ibxem{PMX} that you are likely to need +when coding scores in \MTx. I have left out or simplified features +that are not +necessary or too advanced. In most cases, you can still use them, as +\MTx\ simply passes through anything that it does not recognize. + + \PMX\ resembles English in that it is made up of \ixem{word}s, which are +strings of non-blank characters separated by blanks. Each word, though, +has the character of an acronym, in that its letters each stand for +something longer, and in fact Don Simons designed the notation so that +you can actually say out loud what the acronym stands for. + + \textsl{In the following, the symbol \ttxem{\#} stands for some number.} + + \subsection{Words that contribute to the count} + + Each bar of music has a certain \ixem{duration}, which is is the total of the +notes and rests in it. The word for a note that contributes to the +count starts with \texttt{a} to \texttt{g}, which indicates \ixem{pitch}; and +the word for a \ixem{rest} starts with \ttxem{r}. + + A note may have a number of \ixem{suffix}es, which may come in any order. +The duration is indicated by a digit: from short to long, these are +6 (1/\mark64-th note), 3, 1, 8, 4, 2, 0, (whole note), 9 (double note, +also known as `breve'). +Moving a +note an \ixem{octave}\footnote{The \ttxem{=} suffix is not part of \PMX. +Instead, \PMX\ offers the ability to specify octaves by numbers. \emph{This +feature is not supported by \MTx.}} + up or down is indicated by \ttxem{+} and \ttxem{-}, +repeated if necessary. +The other suffixes are the following marked letters: \mark dotted, +\mark flat, \mark sharp, \mark natural, stem \mark upper, +stem \mark lower, offset to the \mark right, offset to the +l\mark eft, \mark apart (not attached to a beam). + +You can fine-tune \index{dot!fine-tuning} dot position,\NEW{0.52} e.g.\ +\verb"gd-2" puts the dot two internotes lower than it would normally go, +and \verb"gd-0+1" puts it one notehead to the right. + +You can also fine-tune\NEW{0.52} accidental position in a similar way. For +accidentals (but not for dots) you are allowed to write \verb"gs>1" +instead of \verb"gs-0+1". + + A rest may also have suffixes: duration and \mark dot as for notes, +\mark pause (duration is the whole bar), \mark blank (rest is +counted but not printed). +It can be moved up and down by \ttxem{+} and +\ttxem{-} followed by a number, e.g. \texttt{r0-4} is a whole-note rest +moved down four internotes. The other rest suffixes mentioned +in Section \ref{rests} are not yet (version 1.3.8) part of \PMX, +except \texttt{m}, which is allowed in a score for a single one-stave +instrument. \NEW{0.43} Also the `blind' and adjustment suffixes on the pause +\texttt{rp} are legal in \MTx, but not yet in \PMX. + + The duration of a note may be influenced in various ways by a previous +note: if unspecified, it is the same as the previous note; or the note +may be part of a chord, a multiplet, or a grace note group. + + \subsection{Words excluded from the count} + +Except for the first note of a chord or multiplet, the following words +for notes are excluded from the count, and should not have a duration +suffix. + +\paragraph*{Chords:} Each note in a chord except the first has the +prefix \ttxem{z}. It is excluded from the count, and suffixes +\ttxem{a} \ttxem{d} \ttxem{l} \ttxem{u} may only appear on the first, +non-\texttt{z} note. +The ``melodic note'' of Section \ref{chords} becomes the first note +of the chord when the \MTx\ code is translated to \PMX. + +\paragraph*{Multiplets:} A normal note may have an extra suffix, after +all the others, of the form \verb"x#" \index{\texttt{x}} +or \verb"x#n", where \ttxem{\#} +stands for a number. This means that the note is the first of a +multiplet (or $x$-tuplet) with \verb"#" equal notes in the time of one. +Only the duration coded on this first note is included in the count. The +appearance of the first note will not be the normal one for its +specified duration: it will look like all the others. +E.g.~\verb"g4x3 a b" defines a \ixem{triplet} of total duration a quarter-note +looking like three eighth-notes. The \ttxem{n} means that the number +\verb"#" is not to be printed. + +\paragraph*{Grace notes:} A normal note may have a prefix group starting +with \verb"G#" or \ttxem{G}. This indicates that the note is the first +of a grace note \index{note!grace} +group with \verb"#" notes, to be set in a tiny font. +All the notes in the group, even the first, are excluded from the +count. + +\subsection{Words for other things than notes} \label{ornaments} + +Other things than notes go into a music score: ornaments, +clefs, +expression markings, changes in key and time signature, etc. +\PMX\ contains support for many of these. Here I mention only a small +selection: see the \PMX\ manual for items you need but which are not +described here. A word for each such feature has its characteristic +first letter followed by a selection of \ixem{suffix}es that qualify it. + +\begin{description} + \item{Ornament:} An \ixem{ornament} is set off-stave in line with its note, +and its word, starting with \ttxem{o}, comes directly after that of its +note. The more commonly needed suffixes are +\texttt{u} (dot for +pizzicato), \texttt{p} (\mark prime for sharp pizzicato), +\mark fermata above, \textbf{fd} (\mark fermata \mark down). +The suffixes \texttt{.} (staccato) and +\texttt{-} (tenuto) differ from the others by being set close to the +note, not off-stave. +There are several more in \PMX\ and many others in MusiX\TeX. + \item{Clef change:} You get a small \ixem{clef} at the point where +the clef change occurs and a big one at the start of the next line. +The clef change word begins with \ttxem{C}. The suffix \verb"#" places +middle C on line \verb"#" of the stave, where \ttxem{1} is the bottom +line and \ttxem{5} the top. An appropriate clef is selected +automatically, e.g. \ttxem{C0} is the G-clef (treble) and \ttxem{C6} is +the F-clef (bass). + \item{Voltas:} \index{volta} These are the labels to mark sections of the score +that are not played at every repeat. You put \ttxem{V}\textbf{1} to indicate +that a bracket containing the number 1 should appear above the bar +in question. Since \PMX\ wants all such indications in the bottom +voice only, they are deleted by the \MTx\ preprocessor if found +elsewhere. See Appendix \ref{voltas}. + \item{Key change:} Put \verb'K+0-2' in a music line where a \ixem{key} change +to two flats should occur. As with voltas, this indication is deleted +if not in the bottom voice. +\end{description} + +\subsection{Useful things to put on \ttxem{\%\%} lines} +\label{usefulPMX} + +You have three ways of passing information directly to PMX. + +\begin{enumerate} + \item The \ttxem{PMX} preamble command. + \item A line starting with \ttxem{\%\%}. The rest of the line is +treated as \PMX. + \item Inside music lines. Anything not recognized is passed through. +\end{enumerate} + +Most of the following commands should appear in the first music paragraph +or on a \ttxem{PMX} preamble command line. +Some of them are actually raw \ixem{MusiX\TeX} --- +consult the MusiX\TeX\ manual for other interesting commands. +\verb"%%" lines in the preamble are treated a little differently -- see +Appendix \ref{expert}. +\begin{description} + \item{Line, page and movement breaks:} +Put \ttxem{\%\%L}\texttt{6} above a paragraph +to make the 6th system start there, and \verb'%%L6P2' to put that +paragraph at the top of page 2. You can't ask for a \ixem{page break} +without a \ixem{line break}. Use this feature only when necessary. +Put \verb'L10M+10i0.1' to make a new movement start at the 6th system, +with 10 internotes of extra space between movements and an indentation +of $0.1=10\%$ of the width. + \item{\verb"h260m"} Height is 260 millimetres. + \item{\verb"w8i"} Width is 8 inches. Note that \PMX's height and width +have one-letter units, not two-letter like \TeX\ itself and \MTx. + \item{\verb"\\vsize 270mm\"} Height given to MusiX\TeX\ is 270 millimetres. + \item{\verb"Ar"} Use relative \ixem{accidentals}. This requires a different + way of coding flats and sharps ---think of \verb's' as meaning + `sharpened' instead of `sharp'. E.g.~if the key signature has one or + more flats, then \verb'bs' means a B natural, \verb'bn' a B flat, and + \verb'bf' a B double flat. If you need to \ixem{transpose} music often, + it is a good idea to acquire the habit of using relative accidentals + always. If you don't, only pieces in C major or A minor can be + transposed without trouble. + \item{\verb"As"} Always use small \ixem{accidentals}. Normally \PMX\ +uses big accidentals and only switches to smaller ones if there is a +reason to do so. You can also force all big accidentals by \verb"Ab." + \item{\verb"Ar K+1-3"} Use relative accidentals and transpose the + piece up one internote, to a key with three flats. You can only + \ixem{transpose} correctly when using relative accidentals! + \item{\verb"\\stdbarrules\"} This will cause bar lines to be + drawn solidly \index{bar lines!solid} + from the top to the bottom of each system, maybe + cutting through lyrics in the process. + \item{Midi commands} \PMX\ can make MIDI files. For example, if you put +\begin{verbatim} +PMX: Ii55:55t96b56:72v127:100 +\end{verbatim} +in the preamble of \texttt`netsoos.mtx`, a MIDI file will be generated +in which both instruments (Soprano/Alto and Tenor/Bass) are played on +MIDI instrument number 54 (on my system this means `voices') at a tempo +of 96 quarter-notes to a minute, with MIDI balances of 56 and 72 (centre +is 64) and MIDI velocities of 127 and 100 respectively. More details +appear in the \PMX\ manual. +\end{description} + +One thing that you must only pass to PMX by the third method — embedded +in a music line — is a meter change, otherwise \MTx\ does not know about +it and will continue to count bars by the old meter. + +\section{How to get and use \MTx} + +There are such excellent tutorials available at \archiveSite\ that +this section is unnecessary. In every subsection, only a few random +remarks are left. You can safely skip it all. Just visit the website. + +\subsection{Installation and running} \label{Archive} + +On a Debian system (which also includes Ubuntu) you can simply +install the \verb`m-tx` package with all its dependencies (which, +if you do not yet have \TeX, is staggeringly much). + +If you need to compile from source, grab it from \repository\ and +look for a file whose name starts with \verb`README`. You will +need a Free Pascal compiler. + +Once you have all the software, make an \MTx\ file with extension +\dotxem{mtx} using your normal text editor. It must be an \ixem{editor} that +respects the line boundaries and empty lines that you type in: in other +words, something fairly primitive, not an upmarket word processor. + +Thanks to Bob Tennent, all the intermediate steps that you used to +need are now unnecessary. There will be an executable file called +\verb`m-tx` on your system so that simply invoking +\begin{verbatim} + m-tx jobname +\end{verbatim} +will take you all the way from \verb`jobname.mtx` to \verb`jobname.pdf`. + +You can do the seven steps separately. The first of them is running +\verb`prepmx jobname`. After that, the command you will need is +\verb`pmx2pdf jobname`, also courtesy of Bob Tennent. + +There are several options available for the first step, which can be +displayed by running \verb`prepmx -h`. + +The \texttt{prepmx} program exits with \ixem{return code} 0 if no error was +found, and return code $n$ if an error was found while processing line $n$ of +the input. + +\subsection{Bugs, restrictions and incompatibilities} \label{limits} + +The status of bugs changes too quickly for this document. Please +consult the files supplied with the package, in particular +\texttt{README.txt}, \texttt{Corrections} and \texttt{Bugs}. + +In \MTx\current\ a paragraph may not be more than 100 lines long, +an input line (including those in lyrics paragraphs) not more than +255 characters, a lyrics line in a music paragraph not more than +128 characters, and you may define a maximum of 12 extra style +elements of your own, whether in the preamble or in the +\ttxem{mtxstyle.txt} file. It is possible to change these if you compile +from source: they are clearly recognizable in \texttt{globals.pas}. + +\NEW{0.42} You can have up to 15 voices, using up to 15 +staves. For each two-voice stave, the number of staves you can have goes +down by 1. + +Other limitations are described in the \PMX\ documentation. + +\subsubsection{Compatibility} + +\MTx\ 0.61 accepts all scores that were valid under \MTx\ 0.60. +Older scores may need tweaking. + +\subsubsection{Unsupported features of Musix\TeX\ and \PMX} + +Support or otherwise of Musix\TeX\ and \PMX\ features comes at three +levels: +\begin{enumerate} + \item The most frequently used features are transparently +incorporated into the basic \MTx\ language. + \item The default action of \MTx\ is to pass through unchanged +anything it does not recognize. Most \PMX\ and MusiX\TeX\ features +still work in this case. For example, you can use \verb"\PED\"\NEW{0.51} +in front of a +note to obtain a \ixem{pedal} annotation below the stave, and \verb"\DEP\" +to get the big asterisk for pedal release. This is an example of a ``Type 1 +\TeX\ string'' \index{TeX string@{\TeX\ string}!Type 1} as +described in the \PMX\ manual. + \item When a new \PMX\ feature affects aspects like count +or pitch of which \MTx\ should be aware, it is likely to be +incompatible with the preceding release of \MTx, although I do try +to catch up later. +\end{enumerate} + +Some pertinent aspects: +\begin{enumerate} + \item \MTx\current\ does not recognize the macro features of \PMX. +You should therefore not use PMX macros for notes or anything else that +affects the count, the duration, the current octave and other properties +that are inherited by a note from the next. But there is no harm in +HIESA +using macros for things like extra space. + \item \MTx\current\ is not aware of movement breaks and the possibility +to change the number of voices. + \end{enumerate} + +\subsection{For \PMX- and MusiX\TeX-perts only} \label{expert} + +You can send commands directly to \ibxem{PMX}. All lines starting with +\ttxem{\%\%} in music paragraphs are collected, stripped of the leading +\verb"%%" and passed otherwise uninterpreted to \PMX\ before anything +else from that paragraph is translated. \NEW{0.41} + +PMX has four mechanisms for incorporating raw \TeX. Apart from putting +them inside music lines as in \PMX, they are supported in \MTx\ as follows. + +1. A Type 1 \TeX\ string appears on a music line, terminated +by a backslash. It takes effect at the next note. + +2. A Type 2 \TeX\ string appears in a \ttxem{TeX} command in the preamble. +The rest of the line will be taken to be \TeX\ and must not end in a +backslash. There may be several \ttxem{TeX} commands. They take effect +just before the real typesetting takes place, after all other definitions +have been processed, and can be used to override just about anything. + +3. A Type 3 \TeX\ string appears on a \verb"%%" line in a paragraph, e.g. +\begin{verbatim} +%% \\\def\foo{bar}\ +\end{verbatim} +It takes effect at the start of paragraph, irrespective of where in +the paragraph it appeared. Note the trailing backslash. + +4. A Type 4 \TeX\ string appears on a \verb"%%" line in the preamble. +\index{TeX string@{\TeX\ string}!Type 4} +It will eventually appear at the top of the \TeX\ file, +after \texttt{musixtex.tex} and \texttt{pmx.tex} have been read in. +Such lines should \emph{not} end with \verb"\". +An example appears in Appendix \ref{dirty}. +As in \TeX, a line starting with only one \ttxem{\%} is treated as a +\ixem{comment}: such lines do not appear in the \PMX\ file. + +If you ever need to pass through something involving stave or instrument +numbers, remember that \PMX\ and MusiX\TeX\ number these from bottom to +top, not from top to bottom, and that the ``first voice'' in \PMX\ is the +\emph{bottom stave} to \MTx. + +Apart from the conversion of lyrics and chord lines into \PMX\ commands +(which is the main job of \MTx) the notes are modified in various ways. +\begin{itemize} + \item Octave is inserted into the first note of each voice, depending +on the \NEW{0.54} \texttt{Octave} command, or if none is supplied, +on the clef. +Absolute \ixem{octave} numbers are not recognized by \MTx\ and +may cause unexpected side effects. You can get something like absolute +octave numbers by combining \verb"=" with \verb"-" or \verb"-". This +may cause an irritating but harmless error message about backward +incompatibiliy at the PMX stage. + \item If a line is vocal, an \ttxem{a} is inserted into quavers and +shorter notes when not under slurs, to protect them from being beamed. + \item Duration codes are inserted into all notes and rests before any +serious processing is done. + \item Long/short note groups are expanded into separate notes. +Although \PMX\ allows these shortcuts, lyrics +cannot be properly synchronized unless the groups are expanded. + \item \PMX\ syntax allows great freedom in the order in which +different parts of a node are coded. \MTx\ is not aware of +all the subtleties, but extracts only those parts of which it needs to +be aware, and reassembles the note afterwards. + \item Labels in the range + \texttt{I} to \texttt{T} are inserted into unlabelled slurs and ties. \NEW{0.55} + You should therefore avoid those labels for slurs that you label yourself. + \item Chord lines are expanded into standard \PMX\ code and inserted +into the main line for each voice. + \end{itemize} + +Other ways in which an \MTx\ score differs from a native \PMX\ score in +more than layout are: a bar line is \emph{required} for a \ixem{pickup}; +\ixem{repeat} bars +are coded by the \ABC\ symbols instead of \ttxem{Rl} etc.; you don't +need to insert a meter change for an incomplete \ixem{final bar}: +\MTx\ does it. + +All the ability of \PMX\ to pass through \TeX\ (including MusiX\TeX) +commands is still there. You might for example like to read the +\ttxem{musixlyr} documentation for a large variety of ways to +fine-tune horizontal lyrics placement, but I can promise that you hardly +ever will need to do horizontal tuning except to align multi-verse lyrics as +in Section \ref{fine-tune-lyrics}. + + +\pagebreak +\section{Annotated examples} + \subsection{Voltas} \label{voltas} + \hskip -12mm +\begin{mus} + \input volta.tex +\end{mus} +\verbatiminput{volta.mtx} +The main rule is: put every \ttxem{V} command in the \emph{bottom} voice +at the start of a measure, +after the bar line (if any) but before the first note, and don't try +to use more than one at a time: the new volta automatically closes the +old one. Volta signs in other voices are silently ignored. +When reading the \PMX\ manual, remember that \emph{your} last part will +become the first part for \PMX. + +In the above example \texttt{V1} starts a volta box, +but to get the first volta box to be closed at the end, you must later +say \texttt{Vb}. Also, to get the text \texttt{2} into the ``second ending" +box, you add the \texttt{2} +after the \texttt{Vb} to make \verb"Vb2". Finally, to make the second +box open ended, you must enter \texttt{Vx} at the point you want it to be +done. (If you forget to enter the \texttt{Vx} after your last volta box, you +will get a strange unwanted volta box at the end of your piece.) + +This example also illustrates the interplay between \ttxem{Space} +and \ixem{\atsign} required for proper spacing of lyrics when there +is stuff above the staves. +\hfill --- \textsl{Contributed by Joel Hunsberger} + +\subsection{Music size} \label{sizes} + +\verbatiminput{title1.mtx} +\begin{center} +\begin{mus} + \input title1.tex +\end{mus} +\end{center} + +The above does not look quite right, for a complicated reason. +A piece as a whole has a basic music size, and then each stave can have its +own ``local'' size. The local size affects everything on the stave itself, +but not the annotations, ornaments etc. The range of legal basic sizes +is quite small: \PMX\ allows only 16-point and 20-point. +In this example, the basic size is 20-point and the local size 29-point. + +To get the perfectly matched annotations displayed on the title page of this +manual, the +input looks like this: +\verbatiminput{title.mtx} +MusiX\TeX\ has four size commands relative the basic size (called +\verb"\normalsize"). These commands affect all music fonts. They are: + +\hskip 15mm +\begin{tabular}{lrr} +\keyindex{smallmusicsize} & 13pt & 16pt \\ +\keyindex{normalmusicsize} & 16pt & 20pt \\ +\keyindex{largemusicsize} & 20pt & 24pt \\ +\keyindex{Largemusicsize} & 24pt & 29pt +\end{tabular} + +There is no \verb"\tinymusicsize", although several of the music fonts are +individually available in 11-point size. + +\pagebreak \subsection{A psalm tune} +\hskip -20mm \begin{mus} + \input psalm42.tex +\end{mus} +\vskip 12pt +\verbatiminput{psalm42.mtx} +\begin{itemize} + \item \verb"Meter: 0/2" indicates counting in half-notes, but no bar +lines. + \item Line breaks in the \texttt{Title} are made by \verb"\\". +\end{itemize} + +\pagebreak +\subsection{Beams, slurs and melismas} \label{melisma} + +% Macros for music examples + +\example{melisma1}{mtx}{60mm}{4mm}{90mm}{-5mm}{c}{5mm} + +\example{melisma2}{mtb}{60mm}{4mm}{90mm}{-10mm}{b}{5mm} + +\example{melisma3}{mtb}{60mm}{4mm}{90mm}{-10mm}{b}{5mm} + +\example{melisma4}{mtb}{60mm}{4mm}{90mm}{-15mm}{b}{5mm} + +\example{melisma5}{mtb}{60mm}{4mm}{90mm}{-10mm}{b}{5mm} + +\example{melisma6}{mtb}{60mm}{4mm}{90mm}{-15mm}{b}{5mm} + +\bigskip\bigskip + +Some points to note: Example 1 uses a slur with default PMX beaming, +Example 2 uses forced beaming to beam all notes, +Example 3 does both. Examples 4 and 5 violate the \MTx\ convention +that notes sung to a single syllable must be slurred or beamed together, +so we override this in either of two ways using \texttt{musixlyr} +commands. Example 4 uses \verb"\beginmel" and \verb"\endmel" +to force melismas in a situation where \verb"[[" has suppressed them; +this method is good for long melismas +over several beamed components. Example 5 suppresses lyrics where +the beaming would have put them. +Example 6 uses \verb"\lyr" to force lyrics where the beaming +would have suppressed them, and shows the use of empty +syllables to synchronize lyrics and of broken slurs to indicate different +slurring in the two verses. +\hfill --- \textsl{Suggested by Stefan Haller} + +\pagebreak +\subsection{Dirty Tricks} \label{dirty} \NEW{0.41} + +\verbatiminput{meter.mtx} +\begin{center} +\begin{mus} + \input meter.tex +\end{mus} +\end{center} + +These are bars 7--9 of the \emph{Credo} from \emph{Misa Criolla} +by Ariel Ram{\'\i}rez. It is in the \emph{chacarera trunca} meter, which +mixes $\frac34$ and $\frac68$ time. There is no \PMX\ construction for +such \ixem{exotic meters}, so we need to be ingenious. + +We specify the meter as \verb"m3406" +which tells \PMX\ to use $\frac34$ meter but to print the C symbol for common +time. Of course we do not actually want the C symbol, we want something +that looks like $\frac34(\frac68).$ Now all that \PMX\ knows about the C +symbol is that it is called \verb"\meterC" in MusiX\TeX. So we define +\verb"\chacarera" and assign it to +\verb"\meterC" in preamble \verb"%%" commands. These appear in the \TeX\ +file after the command to read in \texttt{musixtex.tex} but before the +commands that actually print something. If later we need the original +\verb"\meterC" it can be restored by \verb"\let\meterC=\oldmeterC". + +The excerpt illustrates some sophisticated \PMX\ features too. +Since the \verb">" ornament on the bottom stave +goes above the stave by default, we +need to move it down explicitly. The beamed eighths look better with +a horizontal beam, which is enforced by \verb"[h." Finally, there is +a tie involving a melodic note with a note in a chord; to allow this, +the chordal note must +come on a music line, not on a \texttt{C:} line. +\pagebreak + +\subsection{Extra text after the piece} \label{extra} \NEW{0.50} + +\verbatiminput{borup.mtx} + + +When typesetting a vocal composition you may sometimes want to put only the +text of the initial stanza into your score and let the remaining part of the +lyrics be printed below the score. You might also want to add some notes or +comments. + +Apparently this is not possible according to the set of commands available +for \MTx\ and \PMX. There is, however, a workaround to do things like +that. The trick is to look for a command \keyindex{Endpiece} or --- as in +this example --- \verb'\setrightrepeat\endpiece' near the bottom of the +MusiX\TeX\ file generated by the \PMX\ preprocessing. You may extend the +actions of \verb'\Endpiece' (or \keyindex{endpiece}) by saving the command +with another name (\verb'\endpiecesav') and redefine \verb'\Endpiece' +to first execute \verb'\endpiecesav' and then request the inclusion of +one or more files containg plain \TeX\ code. The text of the included +file(s) will be typeset on unutilized space on the last page or else on +a new page. + +MusiX\TeX\ commands like these may --- as noted in Appendix \ref{usefulPMX} +--- be put directly into the mtx source file in \verb"%%"-lines at the +head of the first music paragraph. + +In the current example two files have been included. \texttt{lyrics.tex} +contains the original Latin lyrics and an English translation. A \TeX\ +table\footnote{See Michael Doob: A Gentle Introduction to \TeX, section +6.2. The book may be found as \texttt{gentle.tex} in the Documentation +subdirectory of the \TeX\ CTAN mirror archives.} consisting of a template +line followed by item lines for each lyrics line has been used to set +up the text in two columns - one for the lyrics and one in italics for +the translation. Notes on the song is included from \texttt{notes.tex} +and appended below the lyrics. +\hfill --- \textsl{Contributed by Christian Mondrup, following a hint by +Werner Icking} + +\verbatiminput{notes.tex} +\pagebreak + +\verbatiminput{lyrics.tex} + +\hskip -20mm +\begin{mus} + \input borup.tex +\end{mus} + +\pagebreak + +\section{\MTx\ and \LaTeX} \NEW{0.54} + +\textit{This section assumes that you have some knowledge of +\LaTeX.} + +The normal output from \PMX\ is a stand-alone plain \TeX\ file, which +cannot without further ado succesfully be input into \LaTeX. +The file \ttxem{mtxlatex.tex} allows you to prepare music scores using +\LaTeX\ rather than plain \TeX, which is particularly useful when you +need the enhanced font handling features of \LaTeX, and to produce +books combining the outputs of several \PMX\ runs into a single +document, such as a collection of songs, or a mainly text document + (like this one) with many small music excerpts. + +\begin{quote} \emph{Order of inclusion of packages is important. + \emph{\texttt{mtxlatex}} + must be the first package included, before any font packages.} +\end{quote} + +\subsection{Collections of complete pieces} + +Suppose you need to make a document containing several complete +pieces, with +perhaps a title page, a foreword and an afterword, like a typical +published book of piano pieces or songs. +\begin{enumerate} + \item Write a \LaTeX\ file, say \texttt{halleluja.ltx}, +looking something like this: +\verbatiminput{hallelujashort.ltx} +By the way, this code contains another dirty trick: vertical space +between systems is tweaked by embedding the bar number in a vertical box. + \item Use the script \texttt{musixtex.lua} that, thanks to Bob Tennent, +forms part of modern \TeX\ distributions\footnote{You need at least Version +0.15. If your distribution is not recent enough, download the latest version +from \texttt{http://icking-music-archive.org/software/musixtex/musixtex.lua}} +to build everything in one go. In this case you need to say: +\begin{verbatim} + musixtex kroonhom loofnou halleluja.ltx +\end{verbatim} +It is important to put the main file last, so that the \TeX\ files +are built before the main file is processed. + \item If you make small changes in the \LaTeX\ part only, a single +\LaTeX\ pass is sufficient, unless the page numbering has changed. +You achieve this with the \texttt{-1} option of \texttt{musixtex.lua}. +\end{enumerate} +You can see the finished product in \texttt{halleluja.pdf}. +Some points to note: +\begin{itemize} + \item The package \texttt{mtxlatex} comes with \MTx. +You must put the command \keyindex{mtxlatex} in the preamble. + \item The package \texttt{times} comes with standard distributions. +You could use any \LaTeXe\ font package here. The \texttt{times} +font is quite narrow and therefore useful when the lyrics are crowded. +If you do use a font package, load it \emph{after} \texttt{mtxlatex}. + \item \verb"\pagestyle{headings}" puts page +numbers and running headings at the top of the page. + \item To change fonts, use pure \LaTeXe\ +\ixem{font change} commands, as above. Don't try to use \verb"\it", \verb"\bf" +etc. Briefly, subject to what fonts you have installed, +you can independently change: + \begin{description} + \item[size] \verb"\tiny", + \verb"\scriptsize", \verb"\footnotesize", \verb"\small", + \verb"\normalsize", \verb"\large", \verb"\Large", \verb"\LARGE", + \verb"\huge", \verb"\Huge"; + \item[shape] \verb"\upshape", \verb"\itshape", \verb"\slshape", + \verb"\scshape"; + \item[family] \verb"\rmfamily", \verb"\sffamily", \verb"\ttfamily"; + \item[series] \verb"\mdseries", \verb"\bfseries". + \end{description} +For a full description, see any good \LaTeXe\ manual. + \item The blank line after \verb"\pagebreak" is essential. + \item The environment \ttxem{Score} is used to include each piece. +It takes two arguments: the first will appear in the list of +contents and as a running page heading; the second is the name +of the \texttt{.tex} file. As usual, the extension \texttt{.tex} +may be omitted. There is also an environment \ttxem{score} +which is less convenient but more flexible: it has no arguments, +reads in nothing, puts nothing in the table of contents, and +does not change the running page heading. Use it when you need +a special lyrics font, e.g. +\begin{verbatim} +\begin{score} \headingandcontents{Loof nou die Heer} + \sffamily \input loofnou +\end{score} +\end{verbatim} +\end{itemize} + +\subsection{Collections of morsels} + +The situation is a little different when the pieces are so short +that more than one of them fit on one page. For these, use the +environment \ttxem{excerpts}, as in the following example: +\verbatiminput{kanons.ltx} +The rest of the procedure is the same as for collections of longer +pieces. +You can see the finished product in \texttt{kanons.pdf}. +Some points to note: +\begin{itemize} + \item The \texttt{excerpts} environment redefines the heading fonts +to more modest sizes. + \item A page break should be made before quitting the environment. + + \item The pieces do not have bar numbers, but space should be reserved +for the numbers that show where the voices enter. This is done +by redefining the \keyindex{writebarno} command. +\end{itemize} + +\subsection{Documents with small music excerpts} + +This manual relies heavily on the \ttxem{mus} environment. +For example, the +musical emblem on the front page was set using the commands +\begin{verbatim} +\begin{center} + \framebox[5in]{\parbox{3.6in}{ + \begin{mus} \input title.tex \bigskip \end{mus} + }} +\end{center} +\end{verbatim} +Some points to note: +\begin{itemize} + \item The excerpts vary in length and some experimentation is +required to get the dimensions and positioning just right. + \item Putting the \texttt{mus} environment inside a \texttt{center} +environment only works when the music line is not longer than the text. +Otherwise, it is useful to use \verb"\hskip", as in the case of the +first example in the manual: +\begin{verbatim} +\hskip -18mm +\begin{mus} +\input mozart0.tex +\end{mus} +\end{verbatim} +For this technique to work properly, it is essential that the above four +lines form a paragraph of their own, i.e.\ they are preceded and +followed by blank lines. +\end{itemize} + +Appendix \ref{melisma} was produced using the command \keyindex{example}. +This is a rather complicated macro with eight parameters, which is +documented at the end of the file \ttxem{mtxlatex.sty}. + +\section{Overriding predefined \TeX\ commands} \NEW{0.54} + +\textit{This section assumes that you are an experienced \TeX\ +user. } + +The logical structure of \TeX\ is such that most of the time, a command used +in a definition need not exist at the time that the definition is made, +as long as it is defined by the time that the definition is used. This +behaviour is known to computer programmers as \emph{run-time binding}. + +We have already met examples of how to exploit this feature in Sections +\ref{dirty} and \ref{extra}, where respectively \verb"\meterC" and +\verb"\Endpiece" were redefined. +The macros of the previous section also work in that way, by locally +(i.e.\ inside the various environments) redefining commands that appear +in the \TeX\ file generated by \PMX. + +The technique is an extremely powerful and flexible one, and in the +hands of an expert can achieve practically any desired result. +Here we can only scratch the surface. One point to note is that +good programming practice requires that you save the current meaning +of the command and restore it later, e.g. +\begin{verbatim} + \let\commandsave\command\def\command{...} + ... + \let\command\commandsave +\end{verbatim} +In \LaTeX, if you redefine a command inside an environment, the saving and +restoring is automatic. + +\subsection{\Large \texttt{mtx.tex}} \label{mtxtex} + +The \MTx\ preprocessor, as far as possible, issues commands starting +with \verb"\mtx" instead of direct \TeX\ commands. The main purpose +for so doing is that the user can modify their effect by redefining +them in the source file. These macros, together with a few others +that make life easier, are collected in the file \ttxem{mtx.tex}. + +Documentation of these commands can be found at the end of the file +\texttt{mtx.tex}. + +\subsection{Changing fonts} + +The font used for lyrics is the default text font of the moment, +which usually is eleven-point roman. +It can be changed globally, e.g. +\verb"TeX: \twelverm" in the preamble will change the font to +twelve-point. When using \LaTeX, you can use font-changing commands +inside the environment to change the lyrics font only for that +particular piece. + +The fonts used for titles and other items in headers are respectively +called \keyindex{BIGfont} and \keyindex{Bigfont}. In \verb"mtxlatex.sty" +they are redefined as follows: +\begin{verbatim} +\renewcommand{\BIGfont}{\Huge\bfseries} +\renewcommand{\Bigfont}{\Large} +\end{verbatim} +If you are not using \LaTeX, they can be redefined in two ways: +\begin{itemize} + \item You can simply assign an existing font, e.g.\ to get + somewhat smaller fonts,\\ +\verb" \let\Bigfont\bigfont\let\BIGfont\BIgfont" + \item You can define the font explicitly, e.g.\ \\ +\verb" \font\BIGfont=cmss9 scaled \magstep4" +\end{itemize} + +The macros \keyindex{mtxPalatino} and \keyindex{mtxHelvetica} defined in +\texttt{mtx.tex}, based on work by Andr\'e van Ryckeghem, replace +Computer Modern in all the font definitions by Palatino and Helvetica +respectively. + +\pagebreak + +\def\Flat{{\musixfont\char'062}} +\def\Sharp{{\musixfont\char'064}} +\def\mtxSharp{\mbox{\raise1ex\hbox{\Sharp}}} +\def\mtxFlat{\mbox{\raise1ex\hbox{\Flat}}} + +\printindex +\end{document} + +\endinput + +so it is a good idea to use \texttt{musixlyr} commands +for left-alignment (\keyindex{llyr}) and horizontal shift +(\keyindex{lyroffset}) on the corresponding music line, for example: +\begin{verbatim} +\llyr\lyroffset{-2}\ d | g g ( a8 b ) | g4 g ( b8 c ) | d4 d e | c2 +L: 1. A-way in a man-ger, no crib for his bed, +L: 2. The stars in the bright sky looked down where He lay. +\end{verbatim} + diff --git a/Master/texmf-dist/doc/generic/m-tx/mtxdoc.pdf b/Master/texmf-dist/doc/generic/m-tx/mtxdoc.pdf new file mode 100644 index 00000000000..4c93913a6c3 Binary files /dev/null and b/Master/texmf-dist/doc/generic/m-tx/mtxdoc.pdf differ diff --git a/Master/texmf-dist/doc/generic/m-tx/mtxdoc.sty b/Master/texmf-dist/doc/generic/m-tx/mtxdoc.sty new file mode 100644 index 00000000000..e4e0cbab27f --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/mtxdoc.sty @@ -0,0 +1,110 @@ +% mtxdoc.sty: macro package for writing documents with music examples +% Some comments on usage appear at the bottom + +% Thanks to Daniel Taupin whose 'musixdoc.sty' is the source +% for some of these + +% Fonts and mark-up + +\newfont{\mflogo}{logo10 scaled 1200} +\font\tentt=\fontid tt10 +\def\ital#1{{\sl #1\/}} +\def\textbs#1{\textbf{\textsl{#1}}} + +% Characters + +\def\Bslash{\tt\char'134} +\def\lquote{{\tt\char'140}} +\def\rquote{{\tt\char'047}} +\def\squote{{\tt\char'015}} +\def\dquote{{\tt\char'042}} +\def\|{{\tt\char'174}} +\def\LBR{{\tt\char'173}} +\def\RBR{{\tt\char'175}} +\def\snake{{\tt\char'176}} +\def\atsign{{\tt\char'100}} +\def\less{{\tt\char'074}} +\def\more{{\tt\char'076}} +\def\underscoreSymbol{\leavevmode \kern.06em \vbox{\hrule width.3em}}% + +% Logos + +\def\mutex{M\raise\tw@\p@\hbox{\kern\m@ne\p@ u\kern\m@ne\p@}\TeX} +\def\MF{{\mflogo METAFONT}} +\def\unix{{\sc unix}} +\def\ABC{\textbf{\texttt{ABC2M\TeX}}} + +% Making an index + +\definecolor{Green}{rgb}{0,0.5,0.1} +\definecolor{Red}{rgb}{0.5,0,0.1} +\long\def\theindex{\renewcommand{\thesection}{}\section{Index}\parindent\z@ + \parskip\z@ plus.3\p@\relax \let\item\@idxitem \columnseprule\z@ + \columnsep35\p@ \begin{multicols}{2}} +\def\endtheindex{\end{multicols}} +\def\keyindex#1{\leavevmode + \hbox{{\color{Red}\Bslash #1}}\index{#1@{\protect\Bslash #1}}} +\def\zkeyindex#1{\index{#1@{\color{Red}\protect\Bslash #1}}} +\def\indexed#1{{\color{Green}#1}} +\def\ixem#1{\indexed{#1}\index{#1}} +\def\itxem#1{\indexed{\ital{#1}}\index{#1}} +\def\ttxem#1{\indexed{\tt #1}\index{#1@{\tt #1}}} +\newcommand{\ttxi}[1]{\item{\ttxem{#1}}} +\def\ibxem#1{\indexed{\bf#1}\index{#1}} +\def\dotxem#1{\indexed{\tt .#1}\index{#1@{\tt .#1}}} +\def\mark#1{\underline{\ttxem{#1}}} +\def\printindex{\@input{\jobname.ind}} + +% Version highlighting + +\def\current{ \version} +\def\newfrom{0.0} +\def\NEW#1{\ifdim#1 pt<\newfrom pt\else% +\index{NEW!\textsf{#1}}\marginpar{\fbox{\textsf{#1}}}\fi} + +% Paper size + +% A4 +\newcommand{\paperAfour}{ +\immediate\typeout{A4 paper size} +\global\textheight 240mm +\global\textwidth 160mm +\global\topmargin -16mm +\global\oddsidemargin 0mm} +% US Letter +\newcommand{\paperUS}{ +\immediate\typeout{US paper size} +\textheight 9.2in +\textwidth 6.5in +\topmargin -0.84in +\oddsidemargin 0mm +} + +% If there is no file 'mypaper.tex' then \paperA4 is the default paper size. +% Historically 'mypaper.tex' was used to select paper size only. +% It can of course contain any TeX macros suitable for the preamble. +\newread\mypaper +\openin\mypaper mypaper.tex\relax +\ifeof\mypaper\paperAfour\else\input mypaper.tex\fi\closein\mypaper + +\endinput + +======================================================================= + +The macros \example and \fullExample are designed to let the +music appear side by side with some verbatim code. + +\fullExample{basename} takes the input from file basename.tex and + puts the source from file basename.mtx next to it. The right-hand + minipage is centered because the source is expected to be taller than + the music. + +\example{basename} takes the input from file basename.tex and + puts the source from file basename.mtb next to it. In the + case of the M-Tx manual, basename.mtb is part of basename,mtx, + but of course one could put anything in the file. The right-hand + minipage is bottom=aligned ed because the source is expected to be + not taller than the music. + +There are some small differences in dimensions between the two macros, +which are intended to make them look just right when used together. diff --git a/Master/texmf-dist/doc/generic/m-tx/mtxindex.tex b/Master/texmf-dist/doc/generic/m-tx/mtxindex.tex new file mode 100644 index 00000000000..5015e7f58fe --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/mtxindex.tex @@ -0,0 +1,18 @@ +\documentclass[11pt]{article} +\input musixtex +\usepackage{a4wide,mtxdoc,multicol,charter} +\def\LBR{{\tt\char'173}} +\def\Bslash{\tt\char'134} +\def\Flat{{\musixfont\char'062}} +\def\Sharp{{\musixfont\char'064}} +\def\mtxSharp{\mbox{\raise1ex\hbox{\Sharp}}} +\def\mtxFlat{\mbox{\raise1ex\hbox{\Flat}}} +\begin{document} +\setcounter{page}{1} +\pagebreak +\renewcommand{\thepage}{I-\arabic{page}} +If you can't find what you need here, also try the Table of Contents. +Other sources of help are listed in Appendix A. + +\input mtxdoc.ind +\end{document} diff --git a/Master/texmf-dist/doc/generic/m-tx/mtxlatex.sty b/Master/texmf-dist/doc/generic/m-tx/mtxlatex.sty new file mode 100644 index 00000000000..cc682ab1a27 --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/mtxlatex.sty @@ -0,0 +1,91 @@ +% mtxlatex.sty: Macro package to make music scores using Latex +% or produce LaTeX documents containing music examples +% Dirk Laurie dlaurie@na-net.ornl.gov 2001-12-27 +% Update: see \mtxdate below +% Some comments on usage appear at the bottom +\usepackage{etex} +\ifx\mtxlatex\undefined\else\endinput\fi + +\def\MTx{\mbox{\textbf{\textsl{M-Tx}}}} +\def\PMX{\textbf{PMX}} +\def\musixlyr{\texttt{\textbf{musixlyr}}} + +\input musixtex +\input musixltx + +% Preamble TeX commands for documents that contain .ex files +% generated by M-Tx/PMX + +\def\mtxlatex{ +\input musixmad +\def\mtxversion{mtxLaTeX} +\def\mtxdate{<16 March 2005>} +\input mtx +\renewcommand{\BIGfont}{\Huge\bfseries} +\renewcommand{\Bigfont}{\Large\bfseries} +% Kill the PMX definition of \parskip. +\parskip=0pt plus 1pt +} +% Extra vertical space evenly spread between systems +\renewcommand\alaligne{\stoppiece\vfill\contpiece} +\def\scoreheight{\textheight 270mm} +\def\scorewidth{\textwidth 193mm} + +\newcommand{\startscore}{\let\SmuF\startmuflex\let\EmuF\endmuflex +\scorewidth\scoreheight +\oddsidemargin -15mm\evensidemargin -15mm\topmargin -20mm +\ifx\mysizes\undefined\else\mysizes\fi +\let\startmuflex\relax\let\endmuflex\relax\let\bye\relax% +\let\nopagenumbers\relax\musicparskip} +\newcommand\headingandcontents[1]{\markboth{#1}{#1}\addcontentsline{toc} + {section}{\protect\numberline{}{#1}}} + +% The environment 'Score' is suitable for scores submitted to the +% Werner Icking music archive +\newenvironment{Score}[2]{\headingandcontents{#1} +\startscore\input #2 +}{\markboth{}{}} + +% The environment 'score' requires you to do your own input +\newenvironment{score}{\startscore}{} + +\newenvironment{excerpts}{ +\newlength\keepOSM\setlength\keepOSM\oddsidemargin +\newlength\keepTM\setlength\keepTM\topmargin +\global\setlength\oddsidemargin{-13mm} \global\setlength\topmargin{-20mm} +\let\startmuflex\relax\let\endmuflex\relax +\let\nopagenumbers\relax \let\bye\relax \let\vfill\relax \let\eject\relax +\musicparskip +\renewcommand{\BIGfont}{\Large\bfseries} +\renewcommand{\Bigfont}{\large\bfseries} +}{\global\setlength\oddsidemargin\keepOSM\global\setlength\topmargin\keepTM} + +\newenvironment{mus}% +{\begin{minipage}{260mm}\startscore\musicparskip}% +{\assignlyrics1{}\assignlyrics2{}% +\gdef\mtxTitle{}\end{minipage}} + +\def\example#1#2#3#4#5#6#7#8{ +\noindent\begin{minipage}[t]{#3} +\begin{mus} \vskip #6 +\input{#1.tex} +\end{mus} +\end{minipage}\hskip #4 +\begin{minipage}[#7]{#5} \vskip #8 +\verbatiminput{#1.#2} +\end{minipage}} + +\endinput + +============================================================================ + +\example{basename}{ext} + {musicwidth}{separation}{codewidth} + {musicvskip}{alignment}{codevskip} + +Set music example together with M-Tx (or other) code. + +basename - musicfile is basename.tex +ext - codefile is basename.ext +separation - distance between music and code minipages +alignment - c, t or b (for code minipage) diff --git a/Master/texmf-dist/doc/generic/m-tx/netfirst.mtx b/Master/texmf-dist/doc/generic/m-tx/netfirst.mtx new file mode 100644 index 00000000000..101bbac4df1 --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/netfirst.mtx @@ -0,0 +1,14 @@ +Title: Net soos ek is +Composer: Charlotte Elliott +Style: SATB +Sharps: 2 +Meter: 3/4 +Space: 9 + +f f f | e2s e4 | f2 b4 | a2d | g4 g g | f2 f4 | g2 c4n | b2d | +d d d | d2r d4r | d2 d4 | d2d | e4 e e | d2s d4 | e2 f4 | f2d | +L: 1. Net soos ek is, geen hulp na-by, al-leen U bloed ge-stort vir my, +L: 2. Net soos ek is, nooi U vir my, ver-ge-we, rei-nig en be-vry. +L: 3. Net soos ek is, U lief-de teer werp al-le hin-der-pa-le neer. +a a a | g2s g4 | a2 g4 | a2d | b4 b b | c2n c4 | b2 e4 | ds2d | +d d d | d2 d4 | d2 g4 | f2d | e4 e e | a2 a4 | g2 g4 | b2d | diff --git a/Master/texmf-dist/doc/generic/m-tx/netsoos.mta b/Master/texmf-dist/doc/generic/m-tx/netsoos.mta new file mode 100644 index 00000000000..ed0612e80fa --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/netsoos.mta @@ -0,0 +1,5 @@ +Style: SATB +Sharps: 2 +Meter: 3/4 +Space: 9 + diff --git a/Master/texmf-dist/doc/generic/m-tx/netsoos1.mtb b/Master/texmf-dist/doc/generic/m-tx/netsoos1.mtb new file mode 100644 index 00000000000..43b015fe49c --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/netsoos1.mtb @@ -0,0 +1,7 @@ +b4 b c | d2 a4 | g2 a4 | f2 f4 | e2 a4 | ( d4 c ) b | a2d | +g4 g e | d2 d4 | d2 c4 | d2 d4 | b2 e4 | ( f4 e ) d | c2d | +L: ge-trek tot U deur-boor-de sy, O Lam van God, ek kom. +L: Op U be-lof-te steun ek bly; O Lam van God, ek kom. +L: Dan wy ek my vir e-wig, Heer; O Lam van God, ek kom. +b4 b bf | a2 a4 | b2 a4 | a2 a4 | g2s a4 | a2 g4s | a2d | +e4 e g | f2 f4 | e2 a4- | d2 d4 | d2 c4 | ( b4 e ) e | a2d | diff --git a/Master/texmf-dist/doc/generic/m-tx/netsoos2.mtb b/Master/texmf-dist/doc/generic/m-tx/netsoos2.mtb new file mode 100644 index 00000000000..1d971a9fed0 --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/netsoos2.mtb @@ -0,0 +1,8 @@ +@+5 b4 b b | b2d | a4 a a | a2d | d4 e- f | g2 e4 | d2d of |] +L: Net soos ek is, net soos ek is, O Lam van God, ek kom. + d4s g f | e2d | e4 f e | d2d | d4 dr d | d2 c4 | d2d |] +@^+5 rp+6 | b4 e d | c2d | a4 d c | ( b2d | b2 ) g4 | f2d |] +LT: Net soos ek is, O Lam van God, ek kom. + a4 a a | g2d | g4 g g | f2d | b4- g+ f | e2 a4- | d2d ofd |] +L: Net soos ek is, net soos ek is, O Lam van God, ek kom. + diff --git a/Master/texmf-dist/doc/generic/m-tx/notes.tex b/Master/texmf-dist/doc/generic/m-tx/notes.tex new file mode 100644 index 00000000000..02d08b1b4ff --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/notes.tex @@ -0,0 +1,6 @@ +% ------- file notes.tex ---------------------------------------- +\vskip 10 mm +\noindent Lyrics by Morten B\o{}rup, 1446-1526, headmaster at the +grammar school of Aarhus. The song was published \par +with an anonymous melody in \it Piae Cantiones +\rm by Theodoricus Petri, Greifswald 1582. diff --git a/Master/texmf-dist/doc/generic/m-tx/prepmx.html b/Master/texmf-dist/doc/generic/m-tx/prepmx.html deleted file mode 100644 index 494710c31c1..00000000000 --- a/Master/texmf-dist/doc/generic/m-tx/prepmx.html +++ /dev/null @@ -1,166 +0,0 @@ -Content-type: text/html - -Manpage of prepmx - -

prepmx

-Section: prepmx Manual Page (1)
Updated: 01 September 2005
Index -Return to Main Contents
- -  -

NAME

- -prepmx - preprocessor for PMX, easy music typesetting program -  -

SYNOPSIS

- -prepmx - -[options] - -jobname - -[outdir/] - -[stylefile] - -  -

DESCRIPTION

- -M-Tx - -is an easy to use preprocessor language for the -PMX - -music typesetting program, aimed at people who are not experts. For an -easy example, have a look at the following example: -

-
  c2+       e4    g   | b4d-  c1 d c2        | -
  c8 g+ e g c- g+ e g | d g f g    c- g+ e g | -

-For syntax reference, please look at the M-Tx manual written by Dirk -Laurie, the creator of the M-Tx language and the author of prepmx, its -command line utility. -

-prepmx - -processes the file -jobname.mtx - -to generate -jobname.pmx. - -You can then process this file using the `pmx' command. -PMX - -is a preprocessor for MusiXTeX. -

-outdir/ - -is the directory where `pmx' will put the final .tex file. Note that the -trailing slash is mandatory. You can provide a -stylefile - -for M-Tx. If omitted, the file `mtxstyle.txt' in the current -directory is used, if there is one. -  -

OPTIONS

- -Options can also be specified in a `Options:' line in the preamble, -which takes precedence over the command line. -
-
-b - -
-never unbeam eighth notes and shorter -
-c - -
-main music lines only - ignore chords -
-D - -
-enable debug mode -
-f - -
-use tonic sol-fa note names -
-i - -
-ignore errors -
-m - -
-music only - ignore lyrics -
-n - -
-indent first system and print default instrument names -
-t - -
-ignore uptext lines -
-u - -
-uptext synchronizes with notes only, not rests -
-v - -
-verbose progress report -
-w - -
-enable pedantic warnings -
-n - -
-select specified case of multiple score -
-  -

EXIT STATUS

- -If no error was found, -prepmx - -exits with return code 0. In case of an error, the line number of the -processed line is returned. This may not always be the line containing -the actual error. A return status of 10000 means that the input file was -empty or could not be opened. -  -

SEE ALSO

- -M-Tx - -User's Guide (mtx060.pdf) -
- -pmx(1), musixtex(1) -  -

AUTHORS

- -prepmx was written by Dirk Laurie <dpl@sun.ac.za>. -This manual page was written by Roland Stigge <stigge@antcom.de> for the Debian -project. It was revised and extended by Nis Martensen -<nis.martensen@web.de>, mostly by copying text from Dirk Laurie's M-Tx -User's Guide. -

- -

- 

Index

-
-
NAME
-
SYNOPSIS
-
DESCRIPTION
-
OPTIONS
-
EXIT STATUS
-
SEE ALSO
-
AUTHORS
-
-
-This document was created by -man2html, -using the manual pages.
-Time: 08:56:25 GMT, September 14, 2012 - - diff --git a/Master/texmf-dist/doc/generic/m-tx/prepmx.pdf b/Master/texmf-dist/doc/generic/m-tx/prepmx.pdf new file mode 100644 index 00000000000..7f1420b5d07 Binary files /dev/null and b/Master/texmf-dist/doc/generic/m-tx/prepmx.pdf differ diff --git a/Master/texmf-dist/doc/generic/m-tx/psalm42.mtx b/Master/texmf-dist/doc/generic/m-tx/psalm42.mtx new file mode 100644 index 00000000000..c5ad930720a --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/psalm42.mtx @@ -0,0 +1,15 @@ +Meter: 0/2 +Style: Singer +Sharps: 1 +Title: Psalm 42\\{\textit{\normalsize Ainsi que la biche r\'ee}} + +@0 g2 a4 b2 a4 g f e2 d2 \caesura\ g2 a4 b2 c4 b2 a g :| +L: Soos 'n hert in dor-re stre-ke, skreeu-end dors na die ge-not +L: van die hel-der wa-ter-be-ke, skreeu my siel na U, o God. + +@+1 b2 b4 d2 c4 b a b2 \caesura\ d2 d4 e2 d4 c b a2 +L: Ja, my siel dors na die Heer, na die Le-wens-bron. Wan-neer + +b2 d4 c2 b4 g a b2 g2 \caesura\ b2 b4 c2 b4 a g f2 g2 +L: sal ek sien in klaar aan-skou-e? Op die Heer is my ver-trou-e. + diff --git a/Master/texmf-dist/doc/generic/m-tx/sanctus.mtx b/Master/texmf-dist/doc/generic/m-tx/sanctus.mtx new file mode 100644 index 00000000000..2aea4ad3112 --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/sanctus.mtx @@ -0,0 +1,13 @@ +Title: Sanctus +Composer: Jacobus Clemens non Papa +Flats: 1 +Meter: C +Style: Singer +Systems: 2 +Size: 20 +TeX: \hidebarrule1 + +U: !bf 1 | | 2 | | 3 | | 4 | | 5 +(~ c4+.b a of g f e d2 )~ { c2 c4 } of (~ c4 f g a g8 f g2 )~ f4 of (~ c+ d c2 b8 a b4 g cd of b8 a4 g2 { f4 f } e )~ fd of (~ g8 a b c4 )~ f2- +L: Sa-nctus, sa-nctus, sa-nctus, sa-nctus. + diff --git a/Master/texmf-dist/doc/generic/m-tx/title.mtx b/Master/texmf-dist/doc/generic/m-tx/title.mtx new file mode 100644 index 00000000000..da0236b8ab8 --- /dev/null +++ b/Master/texmf-dist/doc/generic/m-tx/title.mtx @@ -0,0 +1,9 @@ +Bars/line: 2 +Style: Solo +Meter: m3400 +Width: 3.7in +TeX: \Largemusicsize + +U: @